This study probes the state of psalm-singing in the Nederduitse Gereformeerde Kerk (Dutch Reformed Church) in South Africa and Namibia during 2007-2008. First, the history of psalm-singing, from its Old Testament origin to its contemporary use in South Africa, is researched. Highlights of its development, as well as low points where congregational psalm-singing all but died out, are researched in order to establish the causes of the current situation. The essence of the study involves an empirical study to determine the frequency of use and functionality of psalms. The results of different approaches all show that to a large extent, psalms have fallen in disuse in this church and that, with the exception of only a small number of psalms, they are becoming extinct. However, in criticism against the Liedboek van die Kerk (Songbook of the Church) (2001) a number of important problems were emphasised, according to which conclusions and recommendations are made. The most prominent cause of the problem is identified as the cultural difference between the existing psalm tradition and the intelligibility of the members of the church. The reason for this problematic situation is traced back to the one-sided application of fixed norms. Based on these, research is done to determine which factors should be taken into account in terms of the receptiveness of church-goers to accommodate these norms as adaptable norms. These factors are explained, ways to apply them are discussed and recommendations are made accordingly. / Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2009.

This study probes the state of psalm-singing in the Nederduitse Gereformeerde Kerk (Dutch Reformed Church) in South Africa and Namibia during 2007-2008. First, the history of psalm-singing, from its Old Testament origin to its contemporary use in South Africa, is researched. Highlights of its development, as well as low points where congregational psalm-singing all but died out, are researched in order to establish the causes of the current situation. The essence of the study involves an empirical study to determine the frequency of use and functionality of psalms. The results of different approaches all show that to a large extent, psalms have fallen in disuse in this church and that, with the exception of only a small number of psalms, they are becoming extinct. However, in criticism against the Liedboek van die Kerk (Songbook of the Church) (2001) a number of important problems were emphasised, according to which conclusions and recommendations are made. The most prominent cause of the problem is identified as the cultural difference between the existing psalm tradition and the intelligibility of the members of the church. The reason for this problematic situation is traced back to the one-sided application of fixed norms. Based on these, research is done to determine which factors should be taken into account in terms of the receptiveness of church-goers to accommodate these norms as adaptable norms. These factors are explained, ways to apply them are discussed and recommendations are made accordingly. / Thesis (Ph.D. (Music))--North-West University, Potchefstroom Campus, 2009.

Detta examensarbete handlar om hårdrockssångares medvetenhet när det gäller sångteknik. Syftet med arbetet är att få kunskap om vilka tillvägagångssätt de har använt sig av när de skapat sitt sound och hittat sin teknik. Den teoretiska utgångspunkten för studien är det sociokulturella perspektivet. Tidigare forskning inom området behandlar traditionell röstlära, mer moderna sångskolor och socialkulturella normer gällande inlärning. Jag har använt mig av den kvalitativa forskningsintervjun som metod och mina informanter är verksamma inom området. Resultatet visar att hårdrockssångare är väl medvetna om traditionell röstlära, nya rön och vikten av att vårda sin röst. Diskussionen belyser att förebilder är viktiga för framgång. / This is a study about heavy rock singer´s awareness of vocal techniques. The intention of the study is to achieve knowledge of which approach they have used to create and find their own technique. The theoretical point of the study is the sociocultural theory. Earlier studies on the subject are about the traditional voice teachings, modern voice schools and the sociocultural behaviour according to the learning process. I have used qualitative interviews, and my informants are professional heavy rock singers. The result shows that heavy rock singers are well aware of traditional voice teachings, new findings and the importance of taking care of the voice. The discussion enlightens that idols and role models are important in term of success.

Thesis (M.A.)--University of Hawaii at Manoa, 1983 / Pacific Islands Studies

Zugl.: Halle (Saale), Univ., Diss., 2007

Thesis (M.A.)--University of North Texas, 2005. / System requirements: Adobe Acrobat Reader. Includes bibliographical references (p. 39).

The problem of this study was to measure the effect upon the tone quality of singers resulting from identifying a specific goal, modeling with a cassette tape of the student's own voice, prescribing practice, and giving verbal approval. On the basis of the findings, these conclusions are drawn. (1) There is no significant difference in prescribing practice of an identified goal, utilizing a model or giving verbal approval. (2) Higher gain in pretest - posttest scores for the experimental groups while the control group showed the lowest gain suggests these teaching methods may be effective. (3) A high correlation of raters can be attained by the training method used in this study.

The purpose of this study was to investigate the phenomenon of choral blend through acoustical analysis of individual vocal sounds. One aspect of the study involved identifying and comparing the acoustical qualities of sounds produced in the usual solo manner and sounds produced by the same singers attempting to blend with a unison ensemble. Another aspect of the study involved identifying and comparing the acoustical qualities of vocal sounds identified as blending well and poorly with a unison ensemble. Singers attempting to blend adjust their overall intensity not only to affect the perceived loudness of their tones, but also to facilitate other acoustical changes which are helpful for achieving blend. Vocal blend apparently may be achieved more readily on vowels having few upper partials than on vowels having numerous upper partials. Where vibrato is employed, certain vocal sounds can achieve a good blend even though their fundamental frequencies only approximate the theoretically correct frequency. There apparently is an interaction between the vibrato of a vocal tone and its spectral features, making it advantageous for the singer to adopt mutually beneficial approaches to both factors in order to blend. Vowel modification effective for achieving vocal blend- -at least for sopranos-- appears to consist primarily of changes in the intensity relationships between the vowel formants. Singers' variations in frequency extend beyond the boundaries of any system of tuning or temperament.

The subsequent study is an outgrowth of observations made during a year spent in secondary voice teaching on the college level. For the purpose of working toward a more effective and efficient secondary voice program, the following material is presented. The first part of the study is a critical analysis and comparison of six methods of voice teaching designed for, or adaptable to, class voice teaching. The second part of the study is a suggested plan for teaching secondary voice in classes, including an outline of material which could be used.

Syftet med denna studie var att undersöka kvinnliga sångares erfarenheter av att sjunga i genrer inom CCM på gymnasiet efter att de har gått i körklass i grundskola och om deras musikaliska och vokala identitet har påverkats av denna övergång och i så fall hur. Detta undersöktes genom kvalitativa intervjuer med fyra kvinnliga sångare som både hade gått de utbildningar som krävdes för att passa ihop med syftet och en eftergymnasial utbildning inom sång. Ur resultatet framkom det att sångarna använde musik och sin sång för att utforska och skapa sin vokala och musikaliska identitet. Det framkom även att lärarna hade stor påverkan på de hierarkier som skapades inom diskurserna och på elevernas handlingsutrymme. Sångarnas upplevda handlingsutrymme och agens visade sig ha stor påverkan på deras musikaliska och vokala identitetsutveckling. / The aim of this study was to examine female singers’ experiences of singing in the genres of CCM in upper secondary school after they had previously experienced singing in a choir program in the elementary school with a focus on the specific sound of Swedish choirs and to examine how their musical and vocal identity have been influenced by this. This was investigated through qualitative interviews with four female singers whose educations suited the purpose of the study and who also have attended a post-secondary education in singing. The result showed that the female singers used music and their singing to explore and create their own musical and vocal identity. It also showed that the teachers had a big influence on the power structures that were created in the discourses and also on the students’ room of manoeuvre. The singers’ perceived room to manoeuvre and musical agency proved to have a great influence on their musical and vocal identity development.