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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
51

Learning to Listen: Collaborative Approaches to Choral Musicking

Freeman, Robin Jean January 2022 (has links)
Choral ensembles often operate as hierarchical institutions where the conductor maintains a position of control over the musical, educational, and social aspects of singing with little or no input from singers. This dissertation reconceptualizes the choral experience as a dialogical process where conventional boundaries between conductor and singers blur. This study was conducted online with a vocal ensemble of ten experienced adult avocational singers and asks how a collaborative spirit may transform the ensemble, individual singers, and the conductor. Using a critical participatory action research approach, we engaged in dialogue and group problem solving as we created collective and individual musical projects over the course of ten rehearsals. The research design emphasized collective reflection and democratic decision making. This research journey is presented through a collection of multimodal data fragments such as musical recordings, practitioner reflections and collated singer reflections, rehearsal transcriptions and narratives, photographs, and poetry. Informed by decolonizing and post-qualitative methodologies, this dissertation highlights the ethical dilemmas, rewards, and uncertainties of both collaborative research and learner-centered approaches to education. In investigating how singers might increase their influence within the ensemble setting, we discovered that singers talking back to the conductor set in motion conditions for a choral paradigm that I describe as back talk choral pedagogy. This pedagogical orientation draws on critical and relational perspectives and is characterized by four interconnected commitments: (a) relational accountability; (b) mutual recognition of knowledge; (c) cultivation of a public square; and (d) responsiveness to input. Singer back talk manifested itself in myriad ways, including the reporting of information or observations, sharing opinions and suggestions, directly contesting the conductor, storytelling, and silence. Singer back talk produced noticeable fruits—a culture of shared vulnerability and trust, unique singer contributions, role fluidity between conductor and singers, and choral communion—which positively impacted the learning environment. This inquiry suggests that by centering relational and ethical aspects of musical collaboration, back talk choral pedagogy has the potential to build flourishing, dynamic musical spaces, increase singer ownership, and challenge conductors to expand their teaching practice.
52

An investigation into the histories of theories and treatment of vocal registers in training the singing and speaking voice in relation to the recently published theories of Douglas Stanley

Lyon, Edward Burger 01 January 1948 (has links)
The question, then, is not. "Should such a study impose limits upon itself?" Rather it is "How shall the boundaries be set?" On the part of the investigator, two considerations might well influence his choice of a specific area in the field of vocal research: (1) Is there a point upon which there exist confusion or, at least doubt, in the mind of the investigator? (2) Is the clearing up of this point of doubt or confusion sufficiently important to the investigator to justify his spending a year trying to solve the problem? In this case the writer has somewhat inadvertently ventured into a reading acquaintance with the theories of Douglas Stanley.1 These theories are in conflict wit his past beliefs and practices. It is claimed that the parctical application of these theories can improve and hasten the development of the vocal organ. If the alleged advantages are actual, the writer should adopt them. A unique treatment of vocal registers seems to be the chief conerstone of Dr. Stanley's system and theories.
53

An Analysis of the Vocal Teaching Techniques of Allan Rogers Lindquest

Forrest, Margaret O. (Margaret Ogburn) 08 1900 (has links)
The problem with which this research is concerned is the documentation of Allan Rogers Lindquest's vocal teaching techniques and contributions to the field of vocal pedagogy in America from 1974 to 1981. The purpose of this study is the identification and compilation of voice building techniques and vocal exercises that were formulated for vocal pedagogy by Lindquest. As a result of reviewing the literature related to vocal pedagogy, which identifies methods of voice teaching and contrasts pedagogical styles, the research questions developed for this study concern the identification and classification of Lindquest's teaching techniques in instructional areas that include breath and breath support, areas of resonance, vowels and vowel modification, vocal registers, other related areas of vocal production, and the directions for and expected results of special vocal exercises. The sources of data for this study are verbatim transcripts of fifty-six audio tapes of voice lessons conducted by Lindquest with seven students.
54

Virtues in Vocal Pedagogy: An Exploratory Study of Character Strengths-Based Approaches in Historic Voice Instruction

Tarr, Jeffrey Ronald 12 1900 (has links)
Researchers of historic voice pedagogy texts have generally focused their objectives towards reviewing the recommendations of historic voice teachers pertaining to the physiological, acoustical, and musical elements of training singers; however, researchers have given less attention to the evidence of humanistic pedagogical elements presented by historic teachers of voice. This study aims to examine historic resources of vocal pedagogy for qualitative data representing exemplification of or advocacy for character strengths for voice teachers. Additionally, this study explores practical applications of character strengths within the context of the modern applied voice studio. In this context, character strengths are defined as the positive attributes of a personality that influence how a person thinks, feels, and behaves. In this document, historic pedagogical resources (N = 80) represent works published between 1811 and 1975. Using the scientifically validated VIA (Values-in-Action) Classification of Strengths, the relevant data extracted from these resources were categorized first into six virtues – wisdom, courage, humanity, justice, temperance, and transcendence. These data were further divided into the subcategories of character strengths based on descriptions located in seminal resources in character strengths research.
55

A Comparative Pedagogical Study of American Art-Songs Recommended for Beginning Voice Students

Teat, Sue Ellen 08 1900 (has links)
This study's purpose was to examine and compare pedagogical opinions and suggestions regarding teaching American art-songs recommended as suitable for beginning voice students. Specific problems were to determine 1. The ten American art-songs most recommended by voice teachers for beginning students, 2. Pedagogical opinions and suggestions about these art-songs, 3. Voice teachers' general opinions and suggestions regarding teaching American artsong, 4. Ways in which their opinions and suggestions were similar and 5. Ways in which their opinions and suggestions were dissimiliar.
56

Preparo vocal para coro infantil : análise, descrição e relato da proposta do maestro Henry Leck aplicada ao "Coral da Gente" do Instituto Baccarell / Vocal techniques for children's choir : analysis and description of the choral director Henry Leck's vocal pedagogy and how it was applied within the "Coral da Gente" of Baccarelli Institute

Rheinboldt, Juliana Melleiro, 1990- 26 August 2018 (has links)
Orientadores: Angelo José Fernandes, Adriana do Nascimento Araújo Mendes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T01:26:11Z (GMT). No. of bitstreams: 1 Rheinboldt_JulianaMelleiro_M.pdf: 59530188 bytes, checksum: 397231451c0292e604327e4d1e95519d (MD5) Previous issue date: 2014 / Resumo: No Brasil, poucos materiais têm sido produzidos a respeito do preparo vocal para coros, especialmente, infantis. Visando suprir tal carência, a presente pesquisa aborda de forma ampla a proposta do maestro americano Henry Leck e relata sua aplicabilidade na realidade brasileira do "Coral da Gente" do Instituto Baccarelli, grupo regido pela autora. No primeiro capítulo, detalhamos os pressupostos pedagógicos e de preparo vocal do maestro Henry Leck, segundo o manual "Vocal techniques for the young singer: an approach to teaching vocal technique utilizing visualization, movement, and aural modeling", o livro "Creating artistry through choral excellence" ¿ ambos de autoria do maestro ¿ e bibliografias vigentes sobre voz infantil, preparo vocal e pedagogia coral. No segundo capítulo, analisamos e descrevemos os aspectos musicais e técnico-vocais dos exercícios que compõem o manual e também relatamos como os vocalizes foram aplicados no decorrer da pesquisa com o "Coral da Gente" e na prática docente da pesquisadora. Os processos de aprendizagem, estratégias didáticas e adaptações da proposta feitas na pesquisa de campo, encontram-se em um DVD anexo. Por fim, refletimos sobre a relevância da proposta de Leck e como ela pode ser mais bem aproveitada em nosso país, respeitando as especificidades de nossa realidade e priorizando um preparo vocal para coro infantil que seja efetivo, consistente e artístico. Este trabalho destina-se a regentes, preparadores vocais, educadores musicais e demais interessados nos assuntos abordados / Abstract: In Brazil, few materials specifically geared towards developing vocal techniques for children¿s choirs are being produced. Aiming to fill this need, this research conducts a wide-ranging analysis of the North American director Henry Leck¿s vocal pedagogy and how it was applied within a Brazilian reality with the "Coral da Gente" of the Baccarelli Institute, where the researcher is choral director. In the first chapter, we detail the pedagogical and vocal basis of Leck¿s methodology, based on the materials "Vocal techniques for the young singer: an approach to teaching vocal technique utilizing visualization, movement, and aural modeling", the book "Creating artistry through choral excellence", and other current literature about children¿s voices, vocal techniques and choral pedagogy. In the second chapter, we describe and analyze the vocal exercise techniques from Leck¿s materials musically, vocally and pedagogically and we also describe how this methodology was used with the "Coral da Gente" of the Baccarelli Institute and in the teaching practices of the researcher, highlighting the learning processes, successes and adaptations necessary. The finding results are available in the accompanying DVD. Finally, we reflect on the relevance of this proposal and how it might best be taken advantage of in Brazil, respecting the particular characteristics of local reality and practicing effective, consistent and artistic vocal techniques for children¿s choir. This research is addressed to choral directors, singing teachers and musical educators / Mestrado / Fundamentos Teoricos / Mestra em Música
57

Choral unit standards and support material for primary schools in South Africa

Wolff, Unita Liberta 07 December 2005 (has links)
Please read the abstract in the section 00front of this document / Thesis (DMus)--University of Pretoria, 2005. / Music / unrestricted
58

Experiencing the interdependent nature of musicianship and educatorship as defined by David J. Elliott in the context of the collegiate level vocal jazz ensemble.

Jensen-Hole, Catherine 08 1900 (has links)
Examination of the relationship of musicianship and educatorship of teacher and students as interacting partners in a specific musical context proceeded with investigation of how formal, informal, impressionistic, and supervisory musical and educational knowledge were evidenced in rehearsal. Attention was also given to how the teaching strategies of modeling, coaching, scaffolding, fading, articulating, reflecting comparatively, and exploring were used to develop student musicianship. The research methodology may best be described as an inductive analytical case study approach. Multiple data sources included: videotaped observations of 19 bi-weekly rehearsals, audio taped interviews of the 12 participants, supplemental materials, (a published interview, journal articles, rehearsal schedules), and member checking with the teacher and David Elliott. Rehearsal data were initially organized into categories identified in David J. Elliott's (1995) model. The relationship of teacher and student musicianship, and teacher educatorship emerged during analysis. Musical details of problem finding, reducing and solving were also identified. Three themes emerged from the student interviews: their perceptions of the teacher's musicianship, general rehearsal strategies, and the teacher's use of specific teaching strategies. Interviews with the teacher illuminated his perception of musicianship and teaching strategies employed in the context. The findings confirmed that as music making transpired in the rehearsals, the kinds of knowing present in the musicianship of teacher and students and the teacher's educatorship were not only intertwined but were utilized at the same time. The level of student musicianship was allied to the relationship of the teacher's musicianship and educatorship. The intricate relationship between the kinds of procedural knowledge that Elliott identifies as integral to music making and music teaching are illustrated in a set of diagrams. Additionally, they show the wide range of technical and musical problems the teacher and students solved together in order for the multifarious nature of the vocal jazz repertoire to be performed effectively in a series of concerts.
59

A Study of Breath Management as Treated by Four Major American Vocal Pedagogues: Appelman, Reid, Vennard, and Miller

Kim, Jisuk 08 1900 (has links)
Trained musicians cannot use the same breath process in daily living as for singing. Also, the normal breath cycle applied to speech is not efficient. Therefore, students who are learning to sing need to know proper breathing techniques. In this thesis, I will describe the breathing process and the correct way to breathe while singing, based on studies of four American pedagogues; Appleman, Reid, Vennard and Miller. To understand the breathing process for singing, it is necessary to study and understand the anatomical system and the mechanics of the respiratory system. Therefore, the first chapter contains anatomical system of breath management. Then, in the second chapter, the specific breath management techniques of four American pedagogues will be examined and compared. Three of them, Appelman, Vennard, and Miller, suggested some exercises in order to develop correct and efficient breathing habits.
60

Spanish Diction in Latin American Art Song: Variant Lyric Pronunciations of (s), (ll), and (y)

Ortiz, Camille 05 1900 (has links)
Latin American art song is a genre primarily of the first half of the twentieth-century, when popular folklore served as the voice and inspiration of many poets and musicians. The nationalist movement served as a means of expression, each Latin American country with its own identity. There is great benefit for singers to study Spanish diction at an academic level, since it is a language already familiar to most U.S.A residents. There is a significant amount of unknown repertoire that would be very useful in the singing studio because of the language's open vowels. This repertoire can also serve as a confidence-builder to young Spanish-speaking singers at the beginning of their training. I will be focusing on the (s), (ll), and (y) sounds as pronounced in the diverse regions of Latin America; in particular, why they matter when coaching singers, and the articulators involved in each. The purpose of this study is to discuss diction differences in the repertoire, expound on its benefits for voice pedagogy, all while informing about varied options for recital programming.

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