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The prevalence of dementia, a progressive and degenerative syndrome, increases dramatically with age (Alzheimer’s Disease International, n.d.), and it is critical to develop effective strategies and evidence-based interventions to improve the quality of life for persons with dementia (Crespo, Hornillos, & De Quirós, 2013; Vink, Birks, Bruinsma, & Scholten, 2004). Music therapy has drawn attention as a promising non-pharmacological approach for individuals with dementia (Brotons, 2000; Vink et al., 2004). A variety of music interventions have been widely applied for dementia care not only by music therapists, but also by other healthcare professionals. Among those interventions, singing and listening are utilized most frequently. The purpose of the current study was to compare the short-term effects of two music interventions, including a music therapy-singing group and a music medicine-listening group, as well as a control-TV group, on quality of life and positive and negative affect of persons with dementia at a long-term care facility. Fifty-two participants, ranging in age from 63 to 99 years, were randomly assigned to one of three groups, and thirty-seven completed the interventions. The participants in each group were engaged for a 40-minute session twice a week for four consecutive weeks. The music therapy-singing group was facilitated by a music therapist, whereas the music medicine-listening and the control-TV group were led by nursing home activity assistants. Quality of life was measured at baseline and after the last session. Only the MT-singing group demonstrated significant improvements when compared to the other groups. Positive and negative affect were measured at three points, including pre and post the first, fourth and eighth sessions. Only the MT-singing group increased positive affect scores and decreased negative affect scores significantly. Based on the findings of the current study, music therapy involving singing may be beneficial in improving quality of life and affect in persons with dementia at long-term care facilities. / Music Therapy

Bel canto is "the best in singing of all time." Authors on vocal literature (Miller, Celletti, Duey, Reid, Dmitriev, Stark, Whitlock among others) agree that bel canto singing requires complete mastery of vocal technique. The "best in singing" means that the singer should possess immaculate cantilena, smooth legato, a beautiful singing tone that exhibits a full palette of colors, and evenness of tone throughout the entire vocal range. Furthermore, the singer should be able to "carry the tone" expressively from one note to another, maintain long lasting breath, flexibility, and brilliant virtuosity. Without these elements, the singer's mastery is not complete. In addition, proper mastery of bel canto technique prolongs the longevity of the voice. For centuries, --emulating beautiful singing has been a model for violin performers. Since the late Renaissance and early Baroque periods, a trend toward homophonic style, melodious songs, and arias had a tremendous influence on pre-violin and violin performers, and even on luthiers. The earliest known four-stringed violins created by Andrea Amati, and Gasparo da Saló in the sixteenth century already possessed a tone that resembled the qualities of a human voice. Today, it has become more difficult to differentiate the tone of one violinist from another. The individual quality of the singing tone, which was the hallmark in violin playing of the golden age of Ysaye, Kreisler, Heifetz, Menuhin, Oistrakh etc. has deteriorated. The purpose of this monograph is to analyze the fundamental principles of bel canto and to apply these principles to violin performance. Teachers, students, and performers will find practical ideas to improve or solve various aspects of violin playing. I will focus primarily on tone production and tone formation (breathing, resonance, vibrato etc.), tonal shading (messa di voce), and range (blending positions). Through understanding the bel canto principles of singing and applying those principles to violin performance, one would have more means to give the tone its distinctive qualities. / Music Performance

This monograph is a review of the general state of vocology as it relates to the singing voice. It provides a working resource guide for singing voice professionals. Specifically, it presents the available technology, medical applications, and educational opportunities in the field of vocology. Having a central resource such as this allows voice professionals to more easily understand the interrelated portions of their parent field (vocology) and to access and navigate the resources available to them. Furthermore, the review raises awareness of the areas requiring further development in the field and brings to light many potential opportunities for collaborations among professionals. / Music Performance

The purpose of this research was to investigate the effects of movement instruction on children's singing achievement scores. When controlling for age, four overarching questions and nine sub-questions were asked. First, when controlling for age, how do pitch achievement scores at the outset compare to pitch achievement scores after movement instruction? 1) Is there a significant main effect of type of instruction on children's pitch achievement scores (between subjects)? 2) Is there a significant main effect of time on children's pitch achievement scores (within subjects)? 3) Is there a significant instruction and time interaction? Second, when controlling for age, how do rhythm achievement scores at the outset compare to rhythm achievement scores after movement instruction? 4) Is there a significant main effect of type of instruction on children's rhythmic achievement scores? 5) Is there a significant main effect of time on children's rhythmic achievement scores? 6) Is there a significant instruction and time interaction? Third, when controlling for age, how do singing voice development scores at the outset compare to scores after movement instruction? 7) Is there a significant main effect of type of instruction on children's singing voice development scores? 8) Is there a significant main effect of time on children's singing voice development scores? 9) Is there a significant instruction and time interaction? Fourth, descriptively, what is the effect of gender on students' pretest and posttest pitch achievement scores, rhythm achievement scores, and singing voice development measure scores? Second, third, and fourth grade students (N = 143) participated in the study. Subjects were randomly assigned to one of three treatment groups receiving different instruction: steady beat movement, continuous fluid movement, or a control group receiving no movement instruction. A researcher-designed criterion song was used as a pretest and posttest measure. Pitch and rhythm achievement scores were assessed using Praat Software. Three raters assessed singing performances using Rutkowski's Singing Voice Development Measure. Three split-plot Analyses of Covariance were run on the data. Results indicated that there was a significant interaction between treatment and time on pitch achievement scores. Post hoc analyses revealed no significant differences among treatment groups for pitch achievement scores. Results indicated that there was a significant interaction between treatment and time for Singing Voice Development Measure scores. Post hoc analyses revealed that the treatment group receiving continuous fluid movement significantly outscored the treatment group receiving steady beat movement. No significant differences were found on rhythm achievement scores. Descriptively, females outscored males on pitch, rhythm, and singing voice development measure scores for both pretest and posttest measures. / Music Education

There has been a recent increase in breathing as an activity within HCI; however, breathing as the source of voice has not been explored. This thesis explores how ADA (air-driven actuator), a haptic wearable garment, may be used by singers to connect with their breath. Primarily through first-person engagement with vocal training and first-person evaluation of ADA’s capability to support vocal practice, the thesis addresses how the garment functionally and experientially supports singers’ movements. Thematic analysis results in two main lines of functional use (demonstrations, and prompts), and engagement with the garment in these two usages builds three conceptualizations of how ADA can align with a singer’s breath (through posture adjustments, inhalation as expansion, and inhalation as tension). Further thematic analysis shows how users characterize experiences with ADA as distinguished by anticipation or layering, offering insight into what experimental qualities underlie the functional use of ADA. The thesis highlights implications for future generative work in the breathing design space, offering tension-release as a breath representation, and a suggestion to explore exhalation duration as a breath parameter through the prolongations of exhalations in singing. Furthermore, it highlights layering as a quality that may be of relevance to further development of ADA, or other experience-oriented technology that aims to support movement practice.

This work examines the direct effect of yoga on the singing voice. Is it possible to notice a difference in the voice right after a yoga session? I put together a method to test this by singing right before and right after practicing yoga and thoroughly documenting this in writing and by recording. I was amazed by the difference that could be noticed in my voice after yoga. Not only did it help to release tension but I also consistently experienced more freedom and better high notes after my workouts. During this study I became more certain of how important my yoga practice is going to be for my career.

The purpose of this study was to investigate the use of verbal communication and vocal performance during university-level applied studio voice lessons. Specific emphasis lay on the relationship between verbal communication, vocal performance, and instructional segments as defined by technical and song literature vocal repertoire.

This research is an investigation of how the lullaby, which is often viewed as purely a simple and pretty song, is a multifaceted vocal tradition that carries historical and cultural significance. As an exploration of how sociocultural factors impact the emotions expressed and the stories told in lullabies, this research encourages deeper examinations of lullaby texts in relation to the historical, cultural, and social aspects reflected in their textual themes. Through the close analysis of text and music of folk and art song lullabies, I propose that the lullaby's function extends beyond putting a baby to sleep; the further roles of the lullaby encompass cultural connections and therapeutic functions for both the parent and child. As a result of these sociocultural considerations, dialogue exists between the lullaby text and its music that do not always match the song's primary intent to provide peace and comfort.

Straw phonation is a semi-occluded vocal tract exercise (SOVTE) that has long been used as a therapeutic device for the voice. The purpose of this study was to compare outcomes following voice lessons that included a straw phonation protocol to those that did not include a protocol. The primary outcome measures were the shortened version of the Singing Voice Handicap Index (SVHI-10), which is a validated health status instrument for singers, and Perceived Vocal Efficiency (PVE). Ten student singers in a large college of music consented into the study and participated in both lesson conditions, serving as their own control. They completed six voice lessons over a six week period with lessons alternating between the straw phonation protocol and no straw phonation protocol conditions. Outcome measures were collected following all six lessons. Repeated measures one-way analysis of variance (RM-ANOVA) revealed no statistically significant effect of the straw phonation protocol on either dependent variable. However, a small effect was found for PVE, indicating that straw phonation led to a perceived improvement in vocal efficiency. There was significant variation in individual responses to straw phonation and participants who had more prior experience with the SOVT experienced less perceptual change across lesson conditions. Most singers reported finding straw phonation a useful addition to their voice lesson and felt it improved their vocal efficiency. These results indicate that straw phonation could be regularly integrated into voice lessons and may be most helpful to students who find the SOVTE worthwhile. Future studies should examine the effects of a similar protocol using multiple SOVTEs, tailored to what is most efficacious for individuals, and should use a separate control group.