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.

Orientador: Sara Pereira Lopes / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-23T08:40:40Z (GMT). No. of bitstreams: 1 Diniz_LianaFerraz_D.pdf: 2802159 bytes, checksum: 7adcff9a95640a476eb0ec4c49d097fb (MD5) Previous issue date: 2013 / Resumo: A presente pesquisa trabalha com a hipótese de que a imaginação é um elemento que une corpo e voz e pode ser o ponto de partida para uma prática vocal pautada pela liberdade do laboratório. Aqui, apresentam-se alguns questionamentos acerca da utilização da técnica vocal como finalidade artística em detrimento da experimentação livre a ser estimulada para que a voz e o corpo alcancem novas possibilidades expressivas. A necessidade de uma investigação no campo da voz em cena que vá além da técnica adveio da afirmação de que "voz é corpo" muitas vezes não reverbera nos laboratórios de prática vocais. Os atores tendem a experimentar o corpo sem voz para depois anexar uma voz processada mentalmente. O resultado disso é uma segregação corpo e voz que aparece nitidamente na cena e compromete a ação vocal, reduzindo-a a uma emissão vocal eficiente para a veiculação do discurso informativo, mas ineficiente na ampliação do sentido da cena. Essa investigação foi realizada em três vertentes principais: as referências teóricas, a observação de atores em laboratório (grupo de estudo e aulas de práticas corporais e vocais) e a trajetória da autora da tese como atriz. Em todas essas linhas, houve necessidade de olhar o quadro de maneira mais ampla. Por acreditar que voz é corpo, necessitou-se lançar a luz sobre qual é o corpo que se dispõe ao processo artístico. A partir daí, houve algumas reflexões que põe a vida do ator como elemento central de sua arte: a vida que predispõe o corpo e a voz à ação. Por tratar-se da arte de forma subjetiva e destacar intencionalmente o caráter pessoal que existe em cada processo de criação, esta pesquisa foi escrita com interferências poéticas que relatam a trajetória da atriz/pesquisadora quando em contato com as questões que fundamentam a hipótese geradora. A pesquisa faz o trajeto que vai desde a discussão teórica sobre o ser humano que se dispõe à arte até a elaboração de procedimentos para prática vocal que podem ser utilizados como metodologia para um contato diferenciado com o texto / Abstract: The present research deals with the hypothesis that imagination is an element that links body and voice and can be the starting point for a practice ruled by the freedom of vocal lab. Here, are presented some issues about the use of vocal technique as artistic goal at the expense of the free experimentation be stimulated so that voice and body reach new expressive possibilities. The need for study in the field of voice in stage that goes beyond the technique came from the statement that "voice is body "often does not resonates in the labs of vocal practice. Actors tend to experience a voiceless body to later append a voice mentally processed. The result is a segregation body and voice that clearly appears on the scene and compromises the vocal action, reducing it to a vocal emission effective for the running of the informative speech, but ineffective in expanding the sense of the scene. This investigation was conducted on three main areas: the theoretical references, the observation of actors in the laboratory (group of study practices and classes of body and voice) and the trajectory of the author's thesis as an actress. In all of these lines, was no need to look at the picture more widely. Believing that voice is body required to throw light on what is the body which features to the artistic process. From there, there were some reflections that puts life of actor as a key element of their art: the life that disposes the body and voice to action. For being a subjective way of look to art and deliberately highlight the personal nature that exists in each creative process, this research was been written with poetic interference to report the trajectory of actress / researcher on contact with the questions which underlie the hypothesis. The research is the way that goes from the theoretical discussion about the human being who features to the art until the development of procedures for vocal practice that can be used as a methodology for a distinctive contact with the text / Doutorado / Teatro, Dança e Performance / Doutora em Artes da Cena

This dissertation presents a critical study of voice teaching method as this pertains to the high school learner studying voice within the South African educational environment, with learning outcomes determined for subject music within the GET (General Education and Training) and FET (Further Education and Training) bands of the Department of Basic Education at each school grade level, as well as by external examining bodies such as Unisa (University of South Africa), Trinity Guildhall and ABRSM (Amalgamated Board of the Royal Schools of Music). Emphasis is placed on the methodological principles applicable in the case of the Western classical music solo vocal repertoire, but reference is also made to the applicability of this method in other vocal genres and, in particular, in the case of choral music participation. Special attention is given to the subject of the vocal health of the developing teenage voice, which includes an overview of vocal disorders and suggestions for rehabilitation and remedial programmes where necessary. Triangulation of research results is achieved in this study through inclusion of: - A thorough survey of selected pertinent bibliographic sources - Description of and engagement with the researcher’s own numerous phenomenological encounters in this field - Interviews conducted in Port Elizabeth with Jill Nock, voice teacher, on the subject of voice teaching method, and with John Black, Ear, Nose and Throat Specialist, on the subject of vocal health. The researcher concludes that there is a need for continued education and training of music educators in the South African high school environment, many of whom are not trained voice specialists, in order to cater for the growing number of high school music learners who choose to specialise in voice. Although educator networking can go a long way towards creating an informal support system to address this need, it is ultimately the responsibility of the Department of Basic Education to address this in a formal and all-encompassing fashion.

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.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-09-28T12:25:17Z No. of bitstreams: 1 Marcela Gonzalez Martinez.pdf: 1359166 bytes, checksum: 8aa0daeb732a05f52144563de0e04970 (MD5) / Made available in DSpace on 2018-09-28T12:25:17Z (GMT). No. of bitstreams: 1 Marcela Gonzalez Martinez.pdf: 1359166 bytes, checksum: 8aa0daeb732a05f52144563de0e04970 (MD5) Previous issue date: 2017-08-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Introduction: the tubes phonation exercises were proposed in the 1960s. In speech therapy these exercises are performed on a wide variety of vocal disorders in both speaking and singing voice. Objective: to investigate the application of the tubes phonation exercises by singing teachers. Method: the sample was finished with 75 singing teachers, the majority women (69.3%), with a mean age of 37.7 years. The subjects were selected through snowball technique and the inclusion criteria were: to use the tubes in the singing classes and to have minimum experience of two years as a teacher. A specific survey was developed for the study. In the first part the characterization of the sample has been made and in the second, specific questions were asked about the use of the tubes and what the reasons that made the teachers use this resource in their singing classes. The research was done online using the Google Forms platform. Results: the flexible plastic straws accounted for 81.3% of the possibilities of tubes that can be worked in the singing classes, followed by the flexible silicone tubes with 70.7% of the sample. The singing teachers (74.7%) reported that they learned the tubes techniques in courses, workshops, conferences and/or college, and the second largest group (52%) learned from speech therapists and/or singing teachers. The effect category was chosen as the main reason for the use of tubes in singing classes, with 56%, the glottal source was the second most pointed reason (41.3%). The other categories were of body and breath (33.3%), filter (30.7%), others (13.3%). Conclusion: the group of singing teachers investigated by this research revealed that they use tubes phonation in their classes due to the perceived effect after performing these exercises. The application of these instruments in singing classes is recent and the flexible plastic tube is the most used among teachers / Introdução: os exercícios de fonação em tubos foram propostos na década de 60. Na terapia fonoaudiológica esses exercícios são executados em uma grande variedade de distúrbios vocais tanto na voz falada como na cantada. Objetivo: Investigar a aplicação do exercício de fonação em tubos por professores de canto. Método: a amostra foi finalizada com 75 professores de canto, sendo a maioria do sexo feminino (69.3%), com média de idade de 37.7 anos. Os sujeitos foram selecionados por meio da snowball tecnique e os critérios de inclusão foram: utilizar os tubos nas aulas de canto e possuir experiência mínima de dois anos como professor. Foi elaborado, pela pesquisadora e orientadora com base na experiência profissional e na literatura, um questionário especifico para o estudo. Na primeira parte foi feita a caracterização da amostra e na segunda perguntas específicas sobre o uso dos tubos, quais os motivos que fizeram os professores utilizarem tal recurso em suas aulas de canto. A pesquisa foi realizada por via digital com a plataforma Google Formulários. Resultados: os tubos de plástico flexível representaram 81.3% dentre as possibilidades de tubos que podem ser trabalhadas nas aulas de canto, na sequência, foram escolhidos os tubos de silicone flexível com 70.7% da amostra. Os professores da pesquisa (74.7%) relataram que aprenderam a técnica dos tubos em cursos, workshops, congressos e/ou faculdade e o segundo maior grupo (52%) aprendeu com fonoaudiólogo e/ou professor de canto. A categoria efeito foi escolhida como o principal motivo para a utilização dos tubos nas aulas de canto, com 56% e em seguida a fonte glótica foi o segundo motivo mais citado (41.3%). As demais categorias corpo e respiração (33.3%), filtro (30.7%), outros (13.3%). Conclusão: o grupo de professores de canto investigados por essa pesquisa revelou que executa a fonação com os tubos em suas aulas devido ao efeito percebido após realização desses exercícios. A aplicação desses instrumentos nas aulas de canto é recente e o tubo flexível de plástico é o mais utilizado entre os docentes

Made available in DSpace on 2014-11-10T11:09:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-03-25Bitstream added on 2014-11-10T11:57:36Z : No. of bitstreams: 1 000718354.pdf: 8336410 bytes, checksum: 566bb95485c67cc73a329840902851d0 (MD5) / A presente pesquisa analisou a terminologia para o ensino de técnica vocal de um grupo de seis professores de canto reconhecidos e atuantes no eixo Rio-São Paulo, nas abordagens vocais erudita, popular brasileira e comercial contemporânea em ciclos de quatro aulas com cada professor, observação direta de sua prática cotidiana no estúdio e entrevistas semi-estruturadas. O objetivo principal foi investigar a eventual recorrência de determinados termos e procedimentos técnicos, buscando sua relação com afinidades e disparidades estilísticas e metodológicas entre os sujeitos. Foram objetivos específicos: 1. estabelecer relações entre os dados colhidos e a literatura pedagógica vocal tradicional e moderna, apontado possíveis relações de linguagem entre os termos e procedimentos técnicos utilizados na prática dos docentes observados e a literatura disponível sobre pedagogia vocal e voz cantada. 2. estabelecer relações entre a terminologia vocal pedagógica e aquela utilizada no âmbito das ciências da voz, apontando as principais mudanças conceituais ocasionadas pelas pesquisas científicas em voz cantada. A análise dos dados mostrou que, embora haja identidade estética entre professores de um mesmo estilo e procedimental entre professores de uma mesma tendência teórico-metodológica, tais afinidades não se mantiveram em relação à escolha terminológica. Foram encontrados muitos termos idiossincráticos e uma recorrência transversal de termos sinestésicos e proprioceptivos conhecidos no jargão tradicional do ensino de canto. Por outro lado, foi possível correlacionar grande parte dos termos encontrados com a literatura pedagógica e científica sobre a voz. Este trabalho aproximou do campo teórico a prática do professor de canto, dando voz às suas inquietações e questionamentos, e problematizando a questão da escolha de termos utilizados no ensino de canto no Brasil frente aos avanços dos estudos [...] / This thesis analyzed samples of the terminology used by a group of six well-known singing teachers working in the Rio-São Paulo (Brazil) are with classical, Brazilian popular and North-American contemporary commercial singing. The samples were gathered during field research, trought interviews the subjects and participant and non-participant observation of their everyday practice in their teaching environments. The aim was to show stylistic and pedagogical affinities and discrepancies through the comparison of the terminologies and technical procedures used by the teachers. The specific objectivies were: 1. To find connections between the expressions and procedures found in the field and both the modern and the traditional literature on vocal pedagogy, suggesting a possible lineage of terms. 2. to find connections between the terminology used in the vocal pedagogy field and the one used in voice science, taking into consideration the main conceptual changes estalished by the systematic scientific research of the singing voice. Data showed that there was esthaetic affinity between teachers of the same style and technical similarities between those of the same pedagogical tendency, but such similitude did not translate into an affinity in the choice of terms. Instead, many idyosyncratic terms were found, and there was a pervasive presence of traditional or well-known proprioceptive and sinesthetic terms. Furthermore, it was possible to correlated almost all terms to the pedagogical and scientific literature. This work is a theoretical reflexion of the everyday practice and concerns of singing teachers. It shows the main conflicts involved in the choice of pedagogical terms in the teaching of singing in Brazil in the face of the constant development of voice science, the various requirements of the music market and the problem of integrating vocal technique and musical expression.

Orientador: Martha Herr / Banca: Abel Luís Bernardo da Rocha / Banca: Angelo José Fernandes / Banca: Marta Assumpção de Andrada e Silva / Banca: Zuleica Antônia de Camargo / Resumo: A presente pesquisa analisou a terminologia para o ensino de técnica vocal de um grupo de seis professores de canto reconhecidos e atuantes no eixo Rio-São Paulo, nas abordagens vocais erudita, popular brasileira e comercial contemporânea em ciclos de quatro aulas com cada professor, observação direta de sua prática cotidiana no estúdio e entrevistas semi-estruturadas. O objetivo principal foi investigar a eventual recorrência de determinados termos e procedimentos técnicos, buscando sua relação com afinidades e disparidades estilísticas e metodológicas entre os sujeitos. Foram objetivos específicos: 1. estabelecer relações entre os dados colhidos e a literatura pedagógica vocal tradicional e moderna, apontado possíveis relações de linguagem entre os termos e procedimentos técnicos utilizados na prática dos docentes observados e a literatura disponível sobre pedagogia vocal e voz cantada. 2. estabelecer relações entre a terminologia vocal pedagógica e aquela utilizada no âmbito das ciências da voz, apontando as principais mudanças conceituais ocasionadas pelas pesquisas científicas em voz cantada. A análise dos dados mostrou que, embora haja identidade estética entre professores de um mesmo estilo e procedimental entre professores de uma mesma tendência teórico-metodológica, tais afinidades não se mantiveram em relação à escolha terminológica. Foram encontrados muitos termos idiossincráticos e uma recorrência transversal de termos sinestésicos e proprioceptivos conhecidos no jargão tradicional do ensino de canto. Por outro lado, foi possível correlacionar grande parte dos termos encontrados com a literatura pedagógica e científica sobre a voz. Este trabalho aproximou do campo teórico a prática do professor de canto, dando voz às suas inquietações e questionamentos, e problematizando a questão da escolha de termos utilizados no ensino de canto no Brasil frente aos avanços dos estudos [...] / Abstract: This thesis analyzed samples of the terminology used by a group of six well-known singing teachers working in the Rio-São Paulo (Brazil) are with classical, Brazilian popular and North-American contemporary commercial singing. The samples were gathered during field research, trought interviews the subjects and participant and non-participant observation of their everyday practice in their teaching environments. The aim was to show stylistic and pedagogical affinities and discrepancies through the comparison of the terminologies and technical procedures used by the teachers. The specific objectivies were: 1. To find connections between the expressions and procedures found in the field and both the modern and the traditional literature on vocal pedagogy, suggesting a possible lineage of terms. 2. to find connections between the terminology used in the vocal pedagogy field and the one used in voice science, taking into consideration the main conceptual changes estalished by the systematic scientific research of the singing voice. Data showed that there was esthaetic affinity between teachers of the same style and technical similarities between those of the same pedagogical tendency, but such similitude did not translate into an affinity in the choice of terms. Instead, many idyosyncratic terms were found, and there was a pervasive presence of traditional or well-known proprioceptive and sinesthetic terms. Furthermore, it was possible to correlated almost all terms to the pedagogical and scientific literature. This work is a theoretical reflexion of the everyday practice and concerns of singing teachers. It shows the main conflicts involved in the choice of pedagogical terms in the teaching of singing in Brazil in the face of the constant development of voice science, the various requirements of the music market and the problem of integrating vocal technique and musical expression. / Doutor

The voice is the only natural and, when properly trained, also the most perfect instrument. Any other instrument, be it string, wind or percussion, is a separate entity, an object devised by man, and over the years altered, improved and perfected. None of those, from primitive pipes to the most intricate electronic apparatus can produce a single sound without human aid. It needs someone to play it manually and/or orally. Intro., p. 1.