The integrated method proposed and worked out consisted of integration of vocal and voice-speech teaching techniques as well as integration of the empirical and mechanical methods of teaching. Balance and co-ordination between external and intra-pharyngeal articulation were considered as a framework for integration of various methods of teaching. Magnetic resonance imaging (MRI), along with spectral analysis, was used to demonstrate the work of intrapharyngeal muscles while singing and to assess the quality of vocalization. 54 MRI expositions were generated for the set of vowels, pitches and modes, of which over 400 MRI images were synthesized and measured. When switching from amateur to professional way of singing, radical transformations of size, shape and to some extent, changes in the surface properties (density, porosity) of muscular tissue of intra-pharyngeal cavities were observed. New acquired MR images clearly showed that the axial section of the back cavity appears indeed much larger in the professional mode than in the amateur mode. Statistical analysis showed that this difference is statistically significant. It is shown that the work on muscles development and use of mental images/imagination must progress in close collaboration. The strategy for the gradual mastering technique of the opening of the vocal tract was suggested, and developed. A new approach was developed to be applied for students to get stable repeatability when they work with mental images. Obtained MR images were used as a part of visualization method during experimental work with students. MR images helped students to create proper mental images. The theory of tangible images was suggested and then successfully applied in the form of experimental work with students. Experimental work with students of the ethnic group Maori was conducted. This experimental work with Maori students demonstrated that the integrated method of teaching helped to overcome some physiological and psychological specific problems which require special techniques of training. Case studies were carried out to assess individual and students' group perceptions, along with interview techniques and a survey questionnaire. The results of the survey are presented graphically, and statistical processing of the data was performed. The results of the survey are interpreted and discussed.

The integrated method proposed and worked out consisted of integration of vocal and voice-speech teaching techniques as well as integration of the empirical and mechanical methods of teaching. Balance and co-ordination between external and intra-pharyngeal articulation were considered as a framework for integration of various methods of teaching. Magnetic resonance imaging (MRI), along with spectral analysis, was used to demonstrate the work of intrapharyngeal muscles while singing and to assess the quality of vocalization. 54 MRI expositions were generated for the set of vowels, pitches and modes, of which over 400 MRI images were synthesized and measured. When switching from amateur to professional way of singing, radical transformations of size, shape and to some extent, changes in the surface properties (density, porosity) of muscular tissue of intra-pharyngeal cavities were observed. New acquired MR images clearly showed that the axial section of the back cavity appears indeed much larger in the professional mode than in the amateur mode. Statistical analysis showed that this difference is statistically significant. It is shown that the work on muscles development and use of mental images/imagination must progress in close collaboration. The strategy for the gradual mastering technique of the opening of the vocal tract was suggested, and developed. A new approach was developed to be applied for students to get stable repeatability when they work with mental images. Obtained MR images were used as a part of visualization method during experimental work with students. MR images helped students to create proper mental images. The theory of tangible images was suggested and then successfully applied in the form of experimental work with students. Experimental work with students of the ethnic group Maori was conducted. This experimental work with Maori students demonstrated that the integrated method of teaching helped to overcome some physiological and psychological specific problems which require special techniques of training. Case studies were carried out to assess individual and students' group perceptions, along with interview techniques and a survey questionnaire. The results of the survey are presented graphically, and statistical processing of the data was performed. The results of the survey are interpreted and discussed.

Vocal Health and Repertoire for the Dramatic Mezzo-Soprano: A Suggested Course of Study brings together the fields of vocal pedagogy and performance. This curriculum guide focuses on repertoire for the Dramatic Mezzo-Soprano, ages 18-30. The guide includes selections from the genres of art song (beginning, intermediate, and advanced levels), opera and oratorio arias, concert works, and song cycles. Selected art songs and arias are presented from a vocal health perspective, using McKinney’s eight principles of Good Vocal Sound. In addition, the Comprehensive Musicianship through Performance model is integrated via the identification of a focus skill for each song or aria. This suggested course of study emphasizes proper vocal technique and offers suggestions when studying and singing the larger works of the Dramatic Mezzo-Soprano repertoire. These suggestions include recommendations gleaned from interviews with well-known mezzo-sopranos Mignon Dunn and Dolora Zajick concerning their opinions regarding repertoire, vocal health, and appropriate song and aria assignments for the Dramatic Mezzo-Soprano. The guide also includes insights into training methods for today’s young dramatic voices based on observations of The Institute for Young Dramatic Voices. Key outcomes and implications are that Dramatic Mezzo-Sopranos must take the time to develop their voices before singing the more advanced arias of the standard repertoire, such as those by Verdi and Wagner, and this can be done through the study of art song. Further, Dramatic Mezzo-Sopranos must be strong technically in their approach to singing to help ensure vocal health and to avoid excessive strain on the vocal folds at all times. Dramatic Mezzo-Sopranos must also have strong skills in musicianship and performance in order to meet the demands of the repertoire for this voice type. The information presented in this curriculum guide will assist both voice teachers and performers in the teaching and singing of repertoire for the Dramatic Mezzo-Soprano. / Review of literature -- Design and method -- Mignon Dunn, Dolora Zajick and the Institute for Young Dramatic Voices -- Curriculum guide -- Summary and recommendations. / School of Music

The purpose of this study was to identify the perceptions of voice teachers regarding the degree to which they believe they teach and monitor healthy vocal behaviors among their students as they sing and speak. Participants for the study were college/university voice professors who were members of the College Music Society and listed in its Directory of Music Faculties in Colleges and Universities, U.S. and Canada, 2012-2013 Edition. Online, survey research procedures and a researcher-generated questionnaire were utilized for data collection purposes. Results indicated that an overwhelming majority of participants believed there to be a relationship between the health of one’s singing voice and the health of one’s speaking voice. Participants’ perception scores were the most positive for variable MBSi, or the degree to which they believe they monitor the vocal behaviors of students when singing. Participants’ perception scores for variable TVB, the degree to which they believe they teach healthy vocal behaviors to students, and variable MBSp, the degree to which they believe they monitor the vocal behaviors of students when speaking, ranked second and third respectively. Perception scores for variable TVB were primarily associated with participants’ familiarity with vocal rehabilitation techniques, gender, and participants’ familiarity with the McClosky Technique. Perception scores for variable MBSi were primarily associated with participants’ familiarity with vocal rehabilitation techniques, gender, type of student taught, and whether participants had instructed a student with a vocal disorder. Perception scores for variable MBSp were correlated with the greatest number of characteristics, including participants’ familiarity with vocal rehabilitation techniques, participants’ familiarity with the McClosky Technique, type of student taught, years of teaching experience, and whether participants had instructed a student with a vocal disorder. The researcher concluded that, while many voice teachers understand the relationship between the health of the speaking voice and the health of the singing voice and use various methods within their private studios to work with injured voices, voice teachers and students may not understand, nor be adequately prepared to prevent and intervene when it comes to issues of the speaking voice. In fact, the researcher concluded that there seems to be a disconnect among teachers and students alike when it comes to teaching and understanding healthy vocal behaviors and applying them to the speaking voice. Multiple resources exist, however, in the form of various certifications, symposiums, and workshops, through which voice teachers may avail themselves of the knowledge necessary to care for the overall health of their students’ speaking and singing voices. Indeed, the voice teacher is obligated to teach well-rounded, healthy vocal behaviors, applying them to both the singing voice and the speaking voice. As medical professionals more frequently reach out to voice teachers, voice teachers will have increased opportunity to assume a more active role on a voice care team. Because so many teachers already implement methods found within the McClosky Technique, if used with understanding and commitment, the Technique could be a means for habilitation, prevention, and intervention on behalf of students suffering from speaking voice disorders within the voice studio. / Access to thesis permanently restricted to Ball State community only. / School of Music