Master of Music (Music Education) / This thesis documents an investigation of the selection procedures relating to Australian vocal repertoire for mid-adolescent and Higher School Certificate (New South Wales) performers, as used by private singing teachers, school music teachers and singing students. It explores the similarities and differences in the criteria employed in these selections. Semi-structured interviews were the source of data and were conducted with participants from these three categories as well as two composers. The participants evinced highly disparate views. The private singing teachers believed that repertoire should be dictated by the technical ability and physiological constraints of mid-adolescent students and that their role in selecting repertoire was related to the long term vocal growth of each individual. They felt that the school music teachers vetted their repertoire choices with no useful explanation of their reasoning, while the school music teachers noted that students frequently presented repertoire that was too difficult or that was not readily communicated with the audience. The ability of mid-adolescent singers to communicate with and engage an audience was the prime concern of the school music teachers. The students wanted to impress their examiners and believed that infrequently heard repertoire was the best choice, though this was not endorsed by the teachers. There was a perception that the students would perform at their best when they chose repertoire to which they could relate emotionally. Many private singing teachers and school music teachers are not aware of the very broad range of contemporary Australian music and its divergent characteristics. However, there is a shortage of appropriate Australian repertoire that addresses the physiological and emotional needs of mid-adolescent singers.

Master of Music (Music Education) / This thesis documents an investigation of the selection procedures relating to Australian vocal repertoire for mid-adolescent and Higher School Certificate (New South Wales) performers, as used by private singing teachers, school music teachers and singing students. It explores the similarities and differences in the criteria employed in these selections. Semi-structured interviews were the source of data and were conducted with participants from these three categories as well as two composers. The participants evinced highly disparate views. The private singing teachers believed that repertoire should be dictated by the technical ability and physiological constraints of mid-adolescent students and that their role in selecting repertoire was related to the long term vocal growth of each individual. They felt that the school music teachers vetted their repertoire choices with no useful explanation of their reasoning, while the school music teachers noted that students frequently presented repertoire that was too difficult or that was not readily communicated with the audience. The ability of mid-adolescent singers to communicate with and engage an audience was the prime concern of the school music teachers. The students wanted to impress their examiners and believed that infrequently heard repertoire was the best choice, though this was not endorsed by the teachers. There was a perception that the students would perform at their best when they chose repertoire to which they could relate emotionally. Many private singing teachers and school music teachers are not aware of the very broad range of contemporary Australian music and its divergent characteristics. However, there is a shortage of appropriate Australian repertoire that addresses the physiological and emotional needs of mid-adolescent singers.

No description available.

abstract: The purpose of this research is to assemble a collection of Russian Art song repertoire selected for beginner level training, with an exposition of the criteria for their appropriateness as teaching pieces. This examination defines the scope of vocal, technical, language and interpretive abilities required for the performance of Russian Art song literature. It also establishes the need for a pedagogical approach that is free from Eurocentric cultural biases against Russian language and culture. Intended as a reference for teachers and students to simplify the introduction of Russian Art song into the repertoire of the advanced secondary or beginning undergraduate student, it includes a discussion of learning priorities and challenges particular to native English speakers relative to successful Russian language lyric diction assimilation, with solutions. This study is designed to furnish material for a published edition of songs in the appropriate transpositions for high, medium and low voice including word-for- word and sense translations with IPA transcriptions, along with program notes for each piece. Repertoire is selected from the works of Alyab'yev, Gurilyov, Varlamov, Glinka, Dargomyzhsky, Tchaikovsky and Mussorgsky, as well as a few folk songs. The repertoire is grouped by difficulty and accompanied by English translations, interpretive analyses of the Russian Language poetry, and International Phonetic Alphabet (IPA) transcriptions modified for lyric diction. The degrees of difficulty are determined by vocal registration demands, word lengths and rhythmical text setting, as well as the incidences of unfamiliar phonological processes and complex consonant clusters occurring in the text. A scope and sequence chart is included, supplemented with learning objectives and teaching strategies, which organizes the repertoire according the order in which the pieces are to be taught. A palatalization guide is provided, to provide solutions for common pronunciation problems. Included in the appendices are listings of additional recommended Russian art song titles and recommended listening and viewing. / Dissertation/Thesis / Doctoral Dissertation Music 2014

Submitted by (ana.araujo@ufrpe.br) on 2016-08-22T11:50:51Z No. of bitstreams: 1 Edvania do Nascimento Pereira.pdf: 1151466 bytes, checksum: 9e3056541ef3069eec6437152cf19482 (MD5) / Made available in DSpace on 2016-08-22T11:50:52Z (GMT). No. of bitstreams: 1 Edvania do Nascimento Pereira.pdf: 1151466 bytes, checksum: 9e3056541ef3069eec6437152cf19482 (MD5) Previous issue date: 2015-07-13 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The acoustic signals in frogs are important for communication, being effective in transmitting information. These songs can be influenced by abiotic factors such as temperature and relative humidity, and biotic factors such as the size of the reproductive aggregates, size and body mass of animals. This study aimed to analyze the physical structure of different vocalizations S. prasinus, the social context in which they occurred and the body posture of individuals at the time of issuance of sounds. In addition to checking whether abiotic factors (temperature and relative humidity) and biotic (animal body size, body mass, presence of males and sexually mature females in the neighborhood, temperature, and relative humidity) influence the advertisement call and the organization of seasonal chorus. For recording acoustic data was using a digital recorder, through the internal omnidirectional microphones. Abiotic data were recorded (temperature and relative humidity) and biotic (micro-habitat of vocalization, the margin distance, distance from the nearest individual, data on CRC (cloacal face length) and body mass of individuals). To assist in the identification and differentiation of vocalizations, in addition to behavioral data was conducted experiment of "playback". 200 corners of 22 individuals were analyzed. They classified three types of vocalizations emitted by males of S. prasinus: advertisement call, cutting and territorial. Distinctions were found between the territorial corners with ad and cut. However, there exist differences between cutting corners and announcement, which can be important to avoid the notice of the female presence in the corner site for other males. The average amplitude of the advertisement call was the parameter that got a greater correlation with the presence of male and sexually mature females. With the objective to maintain minimum spacing between neighbors and increase mating success. The corner of the activities peaks occurred in February and March (hottest), which is common in tropical frogs due to ectotermia. Valuable results on acoustic communication and the influence of abiotic and biotic factors on acoustic parameters of sound S. prasinus, contributing information on the natural history of the species, assisting with important elements for conservation of sensitive taxa environmental changes. / Os sinais acústicos em anuros são importantes para a comunicação, sendo eficaz na transmissão de informações. Esses cantos podem sofrer influências de fatores abióticos, como temperatura e umidade relativa do ar e fatores bióticos como o tamanho dos agregados reprodutivo, tamanho e massa corpórea dos animais. Este trabalho teve por objetivo analisar a estrutura física das diferentes vocalizações de S. prasinus, o contexto social em que ocorreram e a postura corporal dos indivíduos no momento da emissão dos sons. Além de verificar se fatores abióticos (temperatura e umidade relativa do ar) e bióticos (tamanho do corpo dos animais, massa corpórea, presença de machos e fêmeas sexualmente maduros na vizinhança, temperatura, e umidade relativa do ar) influenciam no canto de anúncio e na organização do coro sazonalmente. Para a gravação dos dados acústicos foi utilizando um gravador digital, através dos microfones omnidirecionais internos. Foram anotados os dados abióticos (temperatura e umidade relativa do ar), e bióticos (micro-habitat de vocalização, distância da margem, distância do individuo mais próximo, dados sobre o CRC (comprimento rosto cloacal) e massa corpórea dos indivíduos). Para auxiliar na identificação e diferenciação das vocalizações, além dos dados comportamentais foi realizado experimento de "playback". Foram analisados 200 cantos, de 22 indivíduos. Classificaram-se três tipos de vocalizações emitidos por machos de S. prasinus: canto de anúncio, corte e territorial. Foram encontradas distinções entre os cantos territoriais com os de anúncio e corte. Contudo, não existiriam diferenças entre os cantos de corte e de anúncio, o que pode ser importante para evitar o aviso da presença da fêmea no sítio de canto para outros machos. A amplitude média do canto de anúncio foi o parâmetro que obteve uma maior correlação com a presença de machos e fêmeas sexualmente maduros. Tendo por objetivo manter espaçamento mínimo entre vizinhos e aumentar o sucesso no acasalamento. Os picos de atividades do canto ocorreram nos meses de fevereiro e março (mais quentes), o que é comum em anuros tropicais, devido à ectotermia. Resultados valiosos sobre a comunicação acústica e a influência de fatores abióticos e bióticos nos parâmetros acústicos do som de S. prasinus, contribuindo com informações sobre a história natural da espécie, auxiliando com elementos importantes para conservação de grupos taxonômicos sensíveis as mudanças ambientais.

付記する学位プログラム名: 霊長類学・ワイルドライフサイエンス・リーディング大学院 / 京都大学 / 0048 / 新制・課程博士 / 博士(理学) / 甲第22298号 / 理博第4612号 / 新制||理||1661(附属図書館) / 京都大学大学院理学研究科生物科学専攻 / (主査)教授 幸島 司郎, 教授 平田 聡, 教授 伊谷 原一 / 学位規則第4条第1項該当 / Doctor of Science / Kyoto University / DGAM

Les études de bioacoustique animale, qui reposent traditionnellement sur des modèles primates non humains et oiseaux chanteurs, convergent vers l'idée que la vie sociale serait la principale force motrice de l'évolution de la complexité de la communication. La comparaison avec les cétacés est également particulièrement intéressante d'un point de vue évolutif. Ce sont des mammifères qui forment des liens sociaux complexes, ont des capacités de plasticité acoustique, mais qui ont dû s'adapter à la vie marine, faisant de l'habitat une autre force de sélection déterminante. Leur habitat naturel impose des contraintes sur la production sonore, l'utilisation et la perception des signaux acoustiques, mais, de la même manière, limite les observations éthologiques. Etudier les cétacés captifs devient alors une source importante de connaissances sur ces animaux. Au-delà de l'analyse des structures acoustiques, l'étude des contextes sociaux dans lesquels les différentes vocalisations sont utilisées est essentielle à la compréhension de la communication vocale. Par rapport aux primates et aux oiseaux, la fonction sociale des signaux acoustiques des dauphins reste largement méconnue. En outre, les adaptations morpho-anatomiques de l’appareil vocal et auditif des cétacés à une vie sous-marine sont uniques dans le règne animal. Leur capacité à percevoir les sons produits dans l'air reste controversée en raison du manque de démonstrations expérimentales. Les objectifs de cette thèse étaient, d'une part, d'explorer l'utilisation contextuelle spontanée des signaux acoustiques dans un groupe captif de dauphins et, d'autre part, de tester expérimentalement les capacités à percevoir les sons sous l’eau comme dans l’air. Notre première étude observationnelle décrit la vie quotidienne de dauphins en captivité et montre que les signaux vocaux reflètent, à grande échelle, la répartition temporelle des activités sociales et non sociales dans un établissement sous contrôle humain. Notre deuxième étude met l'accent sur le contexte d’émission des trois principales catégories acoustiques précédemment identifiées dans le répertoire vocal des dauphins, à savoir les sifflements, les sons pulsés et les séries de clics. Nous avons trouvé des associations préférentielles entre chaque catégorie vocale et certains types d'interactions sociales ainsi que des combinaisons sonores non aléatoires et également dépendantes du contexte. Notre troisième étude a testé expérimentalement, dans des conditions standardisées, la réponse des dauphins à des « labels » acoustiques individuels donnés par l’homme et diffusés dans l’eau et dans l’air. Nous avons constaté que les dauphins peuvent reconnaître et réagir uniquement à leur propre « label » sonore, même lorsqu'il est diffusé dans l’air. En plus de confirmer l'audition aérienne, ces résultats soutiennent l’idée que les dauphins possèdent une notion d'identité. Dans l'ensemble, les résultats obtenus au cours de cette thèse suggèrent que certains signaux sociaux dans le répertoire des dauphins peuvent être utilisés pour communiquer des informations spécifiques sur les contextes comportementaux des individus impliqués et que les individus sont capables de généraliser leur concept d'identité à des signaux générés par l'homme. / Studies on animal bioacoustics, traditionally relying on non-human primate and songbird models, converge towards the idea that social life appears as the main driving force behind the evolution of complex communication. Comparisons with cetaceans is also particularly interesting from an evolutionary point of view. They are indeed mammals forming complex social bonds, with abilities in acoustic plasticity, but that had to adapt to marine life, making habitat another determining selection force. Their natural habitat constrains sound production, usage and perception but, in the same way, constrains ethological observations making studies of captive cetaceans an important source of knowledge on these animals. Beyond the analysis of acoustic structures, the study of the social contexts in which the different vocalizations are used is essential to the understanding of vocal communication. Compared to primates and birds, the social function of dolphins’ acoustic signals remains largely misunderstood. Moreover, the way cetaceans’ vocal apparatus and auditory system adapted morphoanatomically to an underwater life is unique in the animal kingdom. But their ability to perceive sounds produced in the air remains controversial due to the lack of experimental demonstrations. The objectives of this thesis were, on the one hand, to explore the spontaneous contextual usage of acoustic signals in a captive group of bottlenose dolphins and, on the other hand, to test experimentally underwater and aerial abilities in auditory perception. Our first observational study describes the daily life of our dolphins in captivity, and shows that vocal signalling reflects, at a large scale, the temporal distribution of social and non-social activities in a facility under human control. Our second observational study focuses on the immediate context of emission of the three main acoustic categories previously identified in the dolphins’ vocal repertoire, i.e. whistles, burst-pulses and click trains. We found preferential associations between each vocal category and specific types of social interactions and identified context-dependent patterns of sound combinations. Our third study experimentally tested, under standardized conditions, the response of dolphins to human-made individual sound labels broadcast under and above water. We found that dolphins were able to recognize and to react only to their own label, even when broadcast in the air. Apart from confirming aerial hearing, these findings go in line with studies supporting that dolphins possess a concept of identity. Overall, the results obtained during this thesis suggest that some social signals in the dolphin repertoire can be used to communicate specific information about the behavioural contexts of the individuals involved and that individuals are able to generalize their concept of identity for human-generated signals.

The following study is part of a larger study examining techniques that might be of use in the release program of the Puerto Rican Parrot (Amazona vittata), including marking, capturing, and radio-tracking. The portion of the study reported here documents the vocal behavior of A. vittata during the reproductive season and examines the possibility of using vocalizations to identify individuals, determine the sex of individuals and determine the location of an individual's breeding territory. Objectives of this study included: 1) cataloguing and categorizing the vocal repertoire of A. vittata, 2) determining whether the vocal repertoire was sex-specific and region-specific and 3) determining if an individual's vocal repertoire could be used to identify it. The vocal repertoire was characterized using a hierarchical method and 147 calls were described. The repertoire was found contain a high percentage (76 %) of graded calls. Evolutionary strategies that may explain the complexity of such a repertoire are discussed. The vocal repertoire was found to be both sex- and region-specific. Characteristics analyzed included time and frequency parameters of sonagrams. Three methods were used to determine the feasibility of vocal recognition of individuals. These methods included: bird-call pairing, sonagraphic analysis, and linear predictive coding. Sonagraphic analyses in combination with linear predictive coding techniques show the most promise as tools in voice recognition of the parrot, however, further research will be necessary to determine how reliable voice recognition may be as a method for identifying individuals in the field. / Master of Science

No description available.

Among the existing body of literature on J.S. Bach’s massive compositional output, a scarce percentage of this research is dedicated specifically to the study of French Baroque court dances and their influence on Bach’s solo vocal repertoire. This study presents secular and sacred solo vocal works by J.S. Bach that were influenced by popular French court dances of the eighteenth century. The study explores musical and dance traits extracted from some of the most popular French Baroque court dances and incorporated into solo vocal repertoire. The intent of this paper is to provide a resource from a performer’s perspective that serves as an informative guide for vocalists, vocal coaches, and voice instructors. It includes biographical information about J.S. Bach, an historical overview of five of the most popular eighteenth-century French court dances, and it features five solo vocal works by Bach whose conception was influenced by French Baroque court dances. The overall goal of this study is to inform the reader about the influences and relationships between French Baroque dance and solo vocal works by J.S. Bach. This study is unique in that it is limited only to those solo vocal works which share a relationship with eighteenth-century French court dances.