Thesis (M.M.) -- Florida State University, 2003. / Advisor: Ladislav Kubik, Florida State University, School of Music. Title and description from thesis home page (viewed 9-27-04). Document formatted into pages; contains 31 pages. Includes biographical sketch.

For an untold number of years the vocalise has had an integral place in many of the methods used for the training and development of singers. Commonly referred to and used as "warm-ups" in the choral rehearsal, vocalises are considered by many conductors to have a usefulness that surpasses that of simply preparing voices for the singing which is immediately at hand. It remains a tendency in many cases, however, for vocalises to be used in an indiscriminate fashion without a clear understanding of the purposes of the vocalises used and/or using a method of presentation of vocal exercises that can diminish their usefulness or perhaps even have detrimental effects on the singers. A common additional plight facing many choral conductors seems to be the lack of availability of practical, printed resources for choral vocalization. Conductors can feel forced to rely only on exercises passed onto them by colleagues or by their own teachers. Either because of this lack of understanding of purpose or because of a lack of knowledge of vocalise repertoire, or both, a conductor might choose to limit or avoid entirely the use of vocal exercises in the choral rehearsal, depriving the conductor and the singers of what is perhaps one of the best tools for vocal development and conditioning. This study attempts to contribute toward the alleviation of the problems mentioned above. The study provides an extended collection of vocalises arranged with optional piano accompaniments by the author for use in the choral rehearsal, including original exercises, as well as those borrowed from colleagues in the solo and choral music fields and from selected printed sources. In addition, through a review of the writings of noted authorities in the field of voice education, the study discusses the usefulness of vocalises in the development of specific elements of good singing, with reference to the vocalises contained in the collection. Included in this discussion is a determination, based on these writings, of certain principles for the effective use of vocalises in the choral rehearsal. Finally, this study provides a selected list of known, available resource material that specifically contains vocalises for choir.

Th. Etat--Musicologie--Paris 4, 1995. / Glossaire p. 559-562. Bibliogr. p. 563-602. Index.

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This dissertation consists of three solo recitals and one lecture recital. The repertoire of all programs is composed of music written specifically for the trombone plus two transcriptions of works for voice. The purpose of this paper is to investigate the use of selected vocal pedagogical material as a means of developing musicianship for the trombonist. The historical relationship of the voice and the trombone is traced through written documentation and musical composition. Similarities between the development of legato technique for the vocal student and the trombonist are examined. A brief history of the vocalise and its pedagogical function is presented. The development of expressive musical performance for the trombonist is explored through the use of examples from three different vocalises of Marco Bordogni.

The accompanied vocalise has been a vehicle for voice training since the "golden age of 'bel canto' thinspace". These vocalises or exercises enable the student to concentrate on using pure tone and to develop various aspects of technical skill and musical style. The use of these accompanied vocalises can detect perceived problems or weaknesses before the students encounters them in songs and arias. The pedagogical and instructional value of the selected vocalises are examined for their possible efficacy in strengthening a student's perceived weakness. In order to determine the relevance of these accompanied vocalises, arias of five representative composers have been chosen. These songs and arias are examined to identify bel canto characteristics, some of which may be problematic for students. Passages reflecting these stylistic characteristics are paired with specific vocalises of similar musical construction. For each example, there are excerpts from three different vocalise composers. The examples contain only a few measures, but it is assumed that the repeated practice of the entire composition will further the acquisition of the desired vocal trait. The five bel canto characteristics examined in depth are: agility, long legato phrases, ornamentation, co-ordination of the registers, and strength and control of the tonal range. The vocalises utilized are limited by the availability of printed sources. A compilation of the instructional vocalises examined is provided in an addendum to the study.

The purpose of this study is to explore the literature for textless voice and woodwind instruments. The primary focus concerns the timbral and ensemble possibilities exploited in three twentieth-century works in which the voice is treated as an instrument i.e., without the usual preoccupation with textual meaning. An historical overview of vocal works with obbligato woodwinds and concerted works for textless voice serves as an introductory chapter. The variables of voice and instrument acoustical makeup, vocal vowel formation and instrumental voicings, volume, vibrato, resultant tones, range, and extended techniques (fluttertongue, special vibrato demands, non-vibrato, etc.) are the focus of the performance considerations for this study. Over thirty twentieth-century textless works for voice and at least one woodwind instrument were located. The three, chosen for this study represent different periods in the century, and present contrasting styles and musical merit: Aria (1931) by Jacques Ibert, Three Vocalises (1958) by Ralph Vaughan Williams, and Duos I (1976) by Nancy Chance. A style and performance analysis of these works with pertinent research on the composers is presented. Appendices include an annotated bibliography of selected works for the medium, a written interview with Nancy Chance, and performance notes provided by the composer, concerning Duos I.

Thesis (Ph. D.)--University of California, San Diego, 2007. / Selections from a cantata for TBarB soloists, large chorus, chamber orchestra, and percussion ensemble, and three pieces from a projected cycle for soprano, flute, and string trio. Words to Beowulf adapted by the composer from Seamus Heaney's translation; also printed as text preceding score on p. 6-30. Words to Tesserae/Tesseract use poem by the composer, both as text and as the source of additional phonemes used by the singer. Vita. Accompanying disc is recorded DVD-R and contains complete text of dissertation, all scores, and master-quality and CD-quality audio tracks.

《紙・驚》與《鼓・箏》 : 褐紫紅色 : 自《彩露》 : 為京腔女中音、中國大鼓和古箏而寫的雙樂章作品 = "Paper. Jolt" and "Gu. Zheng", op. 23 : Maroon : from the Dews of Color : two-movement piece for Chinese operatic mezzo-soprano, Chinese big drum, and Gu-Zheng (2008) -- Carnival, op. 24 : for symphonic band : coral : from the Dews of Color (2009) -- Celadon, op. 26 : from the Dews of Color : composed for clarinet in B-flat, Gu Zheng, and Percussion (suspended cymbal and vibraphone) = 青瓷色: 自《彩露》: 為降B單簧管, 古箏與敲擊(弔鈸及鋼片琴)而寫 -- Prelude, passacaglia and fugue, op. 25 : for percussion quartet. / "Zhi, jing" yu "Gu, zheng" : he zi hong se : zi "Cai lu" : wei jing qiang nü zhong yin, Zhongguo da gu he gu zheng er xie de shuang yue zhang zuo pin = "Paper, Jolt" and "Gu, zheng", op. 23 : Maroon : from the Dews of Color : two-movement piece for Chinese operatic mezzo-soprano, Chinese big drum, and Gu-zheng (2008) -- Carnival, op. 24 : for symphonic band : coral : from the Dews of Color (2009) -- Celadon, op. 26 : from the Dews of Color : composed for clarinet in B-flat, Gu zheng, and Percussion (suspended cymbal and vibraphone) = Qing ci se : zi "Cai lu": wei xiang B dan huang guan, gu zheng yu qiao ji (diao ba ji gang pian qin) er xie -- Prelude, passacaglia and fugue, op. 25 : for percussion quartet. / Lee, Kar Tai. / Durations: 8 min.; 4 min.; 4 min.; 10 min. / Thesis (M.Mus.)--Chinese University of Hong Kong, 2009. / Abstracts in English and Chinese. / Cover Page --- p.i / Abstract --- p.ii / Acknowledgements --- p.iv / Table of Contents --- p.iv / """Paper. Jolt “ and “ Gu . Zheng""《´紙Ø驚》與《´鼓Ø箏》" --- p.1 / Carnival《嘉年華》 --- p.18 / Celdaon《青瓷》 --- p.35 / "Prelude, Passacaglia and Fugue《前奏、巴沙加牙和賦格曲》" --- p.48