The purpose of this project is to examine the extent to which sign language can be used as a means of communicating the text for hearing audiences attending classical vocal recitals. The project discusses historical practices for providing text translation of classical repertoire sung in foreign languages and gives an account of the increasing popularity of sign language interpretation for hearing audiences within the contemporary, commercial music industry. A trial performance is undertaken in order to examine the effectiveness of the idea in the context of classical vocal music. Feedback is gathered from the audience and singer’s perspective during performance and through observations made by studying the video documenting the performance. / <p>The sounding part of the work consists of the following recording: NJones100619. The Corona virus situation spring semester 2020 has caused limitations in the recording possibilities. The recording may be supplemented. </p>

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Syftet med denna studie är att förbättra min förmåga att sjunga utantill för att därigenom utveckla min konstnärliga uttrycksförmåga. För att göra detta utvecklades en egen metod för utantillinlärning av sångtext genom att två långa visor av Evert Taube studerades in: Möte i monsunen och Eldareval- sen. En litteratur- och intervjustudie användes som grund för val av inlärningsmetoder. Experimentet utfördes i två delar. I första delen av experimentet undersöktes fyra metoder för utantillinlärning av text; (1) Nedskrivning av texten för hand, (2) Skandering av texten (rytmisk läsning), (3) Gestaltning av texten med rörelser och slutligen (4) en kombination av de tre första. I andra delen av experimen- tet användes erfarenheterna av första delen för att förfina metoden. I experimentets båda delar gjor- des även enkla textanalyser som komplement till övriga metoder.  Experimentet lades upp så att jag under fem veckor övade ovan nämnda visor med ovan nämnda me- toder under två dagliga pass på 25 minuter. Erfarenheterna av detta dokumenterades med 22 logg- boksinlägg och 19 videoinspelningar.  Resultaten tydde på att den bästa metoden för mig var en kombination av de fyra metoderna där skandering av texten var den viktigaste i kombination med analys av texten. Beroende på textens in- nehåll kunde sedan nedskrivning av text och gestaltning med rörelser användas i olika grad. Resulta- ten verifierade också rådande forskning som säger att enbart studier av minnets struktur och upp- byggnad i sig själv är användbart för att förbättra förmågan till memorering av musik. / The aim of this study is to increase my capacity to sing by heart in order to increase my ability of ar- tistic expression. To do this, a method for text memorization was developed through the learning of two long songs by Evert Taube: Möte i monsunen and Eldarevalsen. Firstly, an interview- and litera- ture study was done. This was the foundation for the selection of methods that were used in the ex- periment. Four methods were applied in the first part of the experiment: (1) Handwriting of the text, (2) Rhythmical chanting of the text, (3) embodying of the text using movements and lastly (4) a com- bination of the previous three. In the second part of the experiment, the experience from the first part was applied in order to refine the method. In both parts of the experiment, simple text analyses were performed as a complement to the other methods.  The experiment was done during five weeks where I practiced the above-mentioned songs and meth- ods daily for two sessions of 25 minutes. The experiences from this were documented through jour- naling and video documentation.  The results indicated that the best method for me was a combination of all four methods where rhyth- mical chanting should be the main method in combination with a proper analysis of the text. Depend- ing on the content of the text the other two methods could be applied. The results also verified the current research where study of the memory on its own could increase the capacity of music memori- zation.

After an intense period of concerts and projects that involved learning large quantities of new music I realized that I often got vocally tired when learning music. I have always been a quick learner but my method of learning has not always been beneficial for my vocal health. In this project I have explored new ways of learning music in which I prioritize vocal health. I have deepened my understanding of the vocal mechanism and experimented with vocal exercises as a part of learning repertoire. Making and listening to recordings of my repertoire and working sessions has helped me to hone my approach. I worked with two pieces of repertoire, spending three weeks on each piece, and focused on different parts of the learning process every week. After completing the work with each piece I chose a few of the recordings to show my singing teacher and a small group of my singing colleagues. This led to meaningful discussions that took my work further. This project has helped me to practice efficiently without becoming vocally tired, created a bridge between repertoire work and vocal technique, and increased the quality of my everyday work as a classical singer.