Scientific knowledge of vocal function and vocal health has increased greatly in recent decades, with new technology capable of displaying the larynx in operation, measuring muscular effort, and acoustically analysing vocal sound. This research addresses five key questions: 1/. What is the current body of voice science knowledge relevant to singing? 2/. What do singing teaching practitioners currently know about the voice? 3/. How do practitioners' understandings of voice influence their teaching of vocal techniques? 4/. How does singing teaching in Australia relate to bel canto precepts? 5/. How does singing teaching in Australia relate to voice science? Data was collected from surveys conducted to answer these questions. Analysis of survey data indicates that practitioners see themselves less as teachers than as singers who teach, and that this role perception carries values that moderate voice knowledge and approaches to teaching. The implications of this conclusion for the professional training of singing teachers in Australia are discussed and suggestions made for further research. In particular, voice scientists and singing teachers need to collaborate more actively in research. Scientific research into singing would have broader application if a model appropriate to both male and female voices were utilised and if larger and better chosen selections of experimental subjects were used. Further research is needed into how the physical skills of singing are best imparted to students / Doctor of Philosophy (PhD)

Thesis (M.A.)--Rhodes University, South Africa, 1999. / Word processed copy. Summary in English. Includes bibliographical references (p. 156-168).

Report (Ed.D.)--Teachers College. / Sponsor: Craig Timberlake. Dissertation Committee: Charles W. Walton, . Issued also on microfilm. Includes bibliography.

Thesis (Ed. D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Harry R. Wilson. Dissertation Committee: Arthur T. Jersild, Gladys Tipton. Bibliography: leaves 62-64.

Thesis (Ed. D.)--Teachers College, Columbia University. / Typescript. Sponsor: Harry R. Wilson. Dissertation Committee: Phil C. Lange. Type C project. Includes bibliographical references (leaves [347]-350).

Thesis--University of Iowa. / "Reprinted from Psychological review monograph. 69." Includes bibliographical references (p. 65-66).

Voice training has been influenced by separatist attitudes which have allowed for classes which train the body to be separate from those which train the voice. This study acknowledges that to train an actor in separate compartments and then expect the completeness of human expression in performance, is to train under false pretences. There is a need to address the imbalance of separatism and this is examined within the context of voice training. An holistic approach to voice training forms the basis of the argument, which focuses on the need to re-educate the notion of physicality in voice training. Chapter one proposes an understanding of the notion of physicality by drawing on the attitudes of selected theatre practitioners towards the physical nature of the theatre encounter. The expressive energies of the actor's body are responsible for the physicalisation of a play; for this reason the movement of voice and speech is not only examined as source movement, but also as the movement of an actor's response and communication. Chapter two examines some practices which led to attitudes of separatism in voice training, and introduces prevalent practices which are attempting to involve the energy of the physical experience. Chapter three proposes that the Alexander technique be used as the foundation for an awareness of individual physicality. Where chapter one examines the theory of this notion, chapter three proposes an experiential understanding of the same. The Alexander technique is a training in effective body use and it's principles are fundamental to an awareness of body use and functioning. It is argued that these principles should underlie a re-education of physicality. The final chapter of the thesis argues for physicality in South African voice training programmes which would complement the physicality of contemporary theatre forms. It is hoped that this study will provide further incentive for the continued review and adjustment of drama training in South Africa.

Thesis (MDram)--University of Stellenbosch, 2008. / In a study of Kristin Linklater’s approach to voice training the concept of the natural voice and the freeing of it stands central. The natural voice according to Linklater is that voice which is naturally produced by the voice-organs without any restrictions that can inhibit it and thus have a maximum potential for the use during speech/work. The opposite to the natural voice is the unnatural voice, which can be described as the production of speech in such a manner that it is restricted or inhibited by conscious or unconscious means. Linklater’s approach focuses on the recognition of the natural voice and the freeing it from negative habits. Her freeing theory with regards to the natural voice consists of the junction of the acknowledgment of physical and psychological habits in the body with the aim of strengthening the natural voice and not only to teach new vocal techniques and habits. The process of freeing the natural voice consists of recognizing and eliminating negative speech and voice related habits. Linklater’s approach to voice training is not unique. The approaches of the other voice theoreticians such as Berry, Rodenburg, Houseman and Lessac have the same kind of approach to voice training (wich includes the concept of the natural voice). Al though some differences occur in connection to their approaches to the roots of habits and the conditioning of voice habits and the eventual freeing of the natural voice through unlearning of the habits that suppress the natural voice.

Thesis(M. Mus.) -- Stellenbosch University, 1994. / ENGLISH ABSTRACT: The purpose of this study is to investigate the relationship between developing the voice and freeing the voice. The ultimate aim of developing the singing voice is expression through the medium of sound. For this to happen, a singer's voice has to function free and resonant. Every song demands certain expressive qualities, and the singing instrument should be able to react to a wide range of impulses. The singing instrument should be freed to enable optimal functioning, while authentically conveying powerful emotions. Developing and freeing the voice is a psycho-physical process. A person's psycho-physical functioning is manifested in body posture. As it were, the body conforms to a person's predisposition and muscle use. Muscle condition, muscle use and the singer's psychological state of mind influence the way in which sound is produced. Sensory perception, the body and breathing in balance, and the use of the body as singing instrument is discussed in chapter two. During the teaching of singing it is imperative that singers develop free habits and expectations. A process of releasing the voice is needed, because stressful habits and distorted sound-expectations have become part of the singer's performance. This inhibits expression in sound and causes the singing apparatus to operate ineffectively. The proper balance between effort and result is often disturbed. In chapter three it is pointed out that more attention should be paid to psycho-physical aspects, including psychological hindrances, the mind, motivation and body language. The teacher-pupil relationship and fear can also influence the development of the voice. In the process of freeing the voice, the Alexander technique can contribute to recognition of malfunctioning and tension in the body. A new and expanded approach to teaching and learning is needed - this will enable the singer to fully participate through thought, physical sensing, feeling and intuitive functions during teaching sessions. All these components interact with each other to support the singing process and develop good technical skills. In chapter four activities which can contribute to the freeing process of the voice and psycho-physical development are discussed. Activities used to promote the integration of all components are game playing as aid to singing development, characterisation as tool for personality and emotional development, imagery and imagination, and voice and movement. In the final chapter some conclusions and directives are given for future teaching of singing, with recommendations about areas in which more research is needed, including development of mental concepts in singing, sound and movement, and the role and influence of feeling and emotion during the singing process. / AFRIKAANSE OPSOMMING: Die doel van hierdie studie is 'n ondersoek na die verband tussen stemontwikkeling en stembevryding. Tydens sangstemontwikkeling is die uiteindelike doelwit ekspressie - om deur middel van klank uitdrukking te kan gee. Om dit te laat gebeur moet 'n sanger se stem vry en resonant klink. Elke lied stel sekere vereistes ten opsigte van uitdrukking en die sangapparaat behoort te kan reageer op 'n verskeidenheid van impulse. Die sangapparaat moet vry wees om optimaal te funksioneer en kragtige emosies getrou te verklank. Stemontwikkeling en stembevryding is 'n psigo-fisiese proses. Liggaamshouding IS 'n uiting of manifestasie van die mens se psigo-fisiese funksionering. Die liggaam neem as 't ware die vorm van die persoon se ingesteldheid en spiergebruik aan. Die toestand van spiere, die funksionering van spiere en die persoon se psigiese toestand het 'n invloed op die klank. Sensoriese waarneming, die liggaam en asemhaling in balans en die gebruik van die liggaam as sanginstrument word in hoofstuk twee bespreek. In sangonderrig is dit noodsaaklik dat sangers vrye gewoontes en verwagtinge sal ontwikkel. In Bevrydingsproses is dus nodig omdat spanningsvolle gewoontes en verwronge klankverwagtinge deel geword het van die sanger se denkwyse as gevolg van wanbegrippe oor sang. Dit inhibeer klankuitdrukking en laat die sangapparaat oneffektief funksioneer. Die korrekte verhouding tussen inspanning en resultaat is dikwels versteur. In hoofstuk drie word aangetoon dat in sangonderrig meer aandag gegee behoort te word aan psigo-fisiese aspekte, waaronder psigiese blokkerings, die denke, motivering en liggaamstaal. Ook die onderwyser-sanger-verhouding en vrees kan stemontwikkeling beinvloed. In die stembevrydingsproses kan lesse in die Alexandertegniek heelwat bydra tot die herkenning van wanfunksionering en spanning in die liggaam. 'n Nuwe en uitgebreide benadering tot onderrig en leer is dus wenslik, sodat die sanger tydens sangonderrig in sy totaliteit betrek kan word in sy denk-, fisiessintuiglike, gevoels- en intultiewe funksies. Al hierdie komponente werk interafhanklik saam om die sangproses te onderhou en goeie tegniese vaardighede te laat ontwikkel. In hoofstuk vier word aktiwiteite bespreek wat kan help met stembevryding en psigofisiese ontwikkeling. Die aktiwiteite wat integrasie van alle komponente bevorder, sluit in spel as hulpmiddel vir sangontwikkeling, karakterisering as middel tot persoonlikheids- en emosionele ontwikkeling, beeldingspel en verbeelding, en stem en beweging. In die finale hoofstuk word gevolgtrekkings en rigtingwysers vir toekomstige sangonderrig gemaak, met aanbevelings oor areas waaroor meer navorsing nodig is soos denkontwikkeling vir sangers, stem en beweging, en die funksionering en invloed van gevoel en emosie tydens die sangproses.

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.