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The problem addressed by this study was the search for ways to relate knowledge of wind instrument playing methods to the study of voice. The purpose of the study was to examine historical and contemporary brass and woodwind teaching sources to determine whether allusions to the vocal art were documented by reputable wind teachers.The ninety-one available sources were written between 1545 and 1981, and included books, treatises, periodicals, and other studies written by scholars, musicians, and teachers from Europe, Asia, and North America. Allusions to the vocal art appeared in eighty percent of the sources studied and occurred with nearly equal frequency in brass and woodwind sources.The study revealed both direct and indirect allusions made in reference to such matters as the relationship of wind instruments to voice, breathing and breath control, tone production, facility, and musicianship.ConclusionsBased on the finding that numerous allusions to the vocal art have been documented in wind instrument pedagogical sources, the following conclusions are drawn:1. A very close relationship exists between the wind instruments and voice.2. A common body of pedagogical theories may be found in vocal and wind instrument teaching methods.3. These theories have been used by wind pedagogues to teach wind instruments.4. A preparatory background in the study of voice and singing methods provides a desirable foundation for the study of wind instrument playing.5. Many authors, it would appear, assume that the wind instrument student already possesses a functional knowledge of the art of singing.

This dissertation, which takes the form of a creative project as is sanctioned by the Doctor of Arts Curricular Program, is a self-instructional course in solo singers' English diction. It is designed for Freshman-level voice majors and no prior knowledge of diction is assumed. The course attempts to achieve three basic goals: to serve as an introduction to the International Phonetic Alphabet (IPA), to alleviate the often overburdened Sophomore-level diction course, and to raise the concerns of English diction to a level comparable with those of Italian, German and French.The course falls naturally into three main divisions:Chapters III-VIan introduction to the IPA, the identification of allvowel and consonant sounds in English, the correctIPA symbols for those sounds, and simple transcriptionof English words into IPA;Chapters VII-Xa detailed analysis of the rules of English dictionand the IPA, including linkage, poetical and musicalstress, and declamation;Chapter XIthe preparation of complete song texts, applyingall the knowledge and skills learned in the course.Each chapter has accompanying exercises which require the student to use information contained in that particular chapter; self-tests for each chapter are provided at the end of the course. Answers for all accompanying exercises and all self-tests are included in the Appendixes. The Appendixes also include a listing of the sources for the extensive musical examples, a pitch nomenclature chart, and a quick-reference guide to the IPA symbols as well as the vocabulary introduced in the course. / School of Music

In recent years, research has shed light on the nature of singer perception in the choral setting; however, only a few studies have explored the nature of singer placement and its impact on members of the ensemble, and little research has been conducted on gender-specific ensembles. Fifty participants from two male choral ensembles took part in an experiment to assess the choristers’ perceptions of and preferences for four choral formations based on individual singer placement within sections and placement of sections within the ensemble. Participants’ perceptions and preferences were assessed in response to four overall choral formations based on criteria derived from factors relating to the Self-to-Other Ratio (SOR) – a singer’s perception of his sound within his section and the chorus. The study also sought to determine whether Voice Part and Musical Experience Level are significant factors in participants’ perceptions of and preferences for four different formations featuring a combination of placements within section (Acoustic and Experience placements) and sectional formations (Block and Column Sectional formations). Participants rated their perceptual experience of the four immediately after having sung in each and then indicated preference for specific placements based on their perceptual experience. Participants’ responses were analyzed for significance through ANOVA and chi-square testing of all pertinent variables. In terms of Voice Part, tenor singers indicated preference for Block Sectional formation, while bass singers indicated preference for Column Sectional formation. It was also determined that singers’ musical experience was significant in determining their preferences for formations, with singers of higher musical experience preferring Block Sectional formation and singers of lower musical experience preferring Column Sectional formation. Singers’ preference for placement within sections was not found to be significant, possibly indicating that this type of placement does not impact singer perception in the choral setting as much as has been thought by many choral conductors and pedagogues. Continued research exploring the nature of individual singer perception in the choral setting will provide a better understanding of the nature of singers’ individual vocal production when combined in ensemble, thus enabling conductors to foster more fulfilling musical experiences in their choirs. / School of Music

No description available.

Treatise (D.M.A.) -- Florida State University, 2004. / Advisor: Stanford Olsen, Florida State University, School of Music. Title and description from treatise home page (viewed 2-9-05). Document formatted into pages; contains 58 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (M.Mus)--Australian Catholic University, 2004. / Submitted in partial fulfillment of the requirements for the degree of Master of Music. Bibliography: p. 150-156. Also available in an electronic format via the internet.

Thesis (M. Mus. (Perf.)) -- University of Sydney, 2006. / Title from title screen (viewed September 4, 2008). Submitted in fulfilment of the requirements for the degree of Master of Music (Applied Research in Music Performance), Sydney Conservatorium of Music, University of Sydney. Includes tables, diagrs. and graphs. Includes bibliographical references. Also available in print form.

Thesis (D.M.E.)--Indiana University, 2007. / Computer printout. Adviser: Charles P. Schmidt. Includes bibliographical references (leaves 151-157).