Title from PDF of title page (University of Missouri--Columbia, viewed on Feb 25, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Wendy L. Sims. Vita. Includes bibliographical references.

Thesis (D. Mus. Arts)--University of Washington, 2002. / Vita. Includes bibliographical references (leaves 107-115).

No description available.

The purpose of this study was to determine if beat detection and beat competency (i.e. maintaining a steady beat) could be more effectively taught through movement, singing, or a combination of the two. Subjects (N =102) were kindergarten students from an elementary school in the Southwest. Students completed a pretest and posttest to assess beat detection ability; the test measured their ability to tap a steady beat with and without music. Subjects received instruction in one of three methods for a six-week period: singing, movement, or a combination of the two. Data analysis results revealed a significant (p < .05) difference between the pretest and the posttest scores for all three groups; subjects appeared to show progress in the ability to detect and maintain a beat with all three instructional methods. There was no significant difference, however, in the progress between the groups; each method of instruction yielded similar improvement.

In this work five – six year old children’s singing skills education is analysed. Work with preschoolers has moved to show interest in a musical education problem. Today preschool children’s musical education is becoming especially relevant, it gives an opportunity to unravel child’s musical gift and develop competencies. An individual singing skill development programme has been prepared and it is theoretically reasoned and experimentally proved. Recommendations for artictic education teachers have been prepared. Five – six year old children’s singing skills education pedagogigal presumption has been reasoned theoretically and practically. As a reasearch object five – six year olds’ singing skills have been chosen. With this research I have tried to analyse children��s musical abilities, which determine singing education, unfold pedagogical presumptions of their education. I have analysed Lithuanian and foreign scientific and methodological literature about children’s singing skills education; I have diagnosed five – six year olds’ musical abilities, necessary for singing skills development; ways of pedagogical influence, which encourages singing skills development, have been revealed; singing skills alteration possibilities have been reasoned experimentally. The research hypothesis of this work – five – six year old children’s skills will successfully develop if an educator, choosing the repertoir, considers child’s individual and group’s diapason; singing skill... [to full text]

The purpose of this research was to explore vocal pedagogy that places development of self-knowledge at the center of the investigation. I looked at the personal growth that occurred as a result of the distinctive qualities inherent in singing lessons that included spiritual practices. The goal for unity of body, mind, and spirit in performance bears a close resemblance to the basic meditative practices of mastery through repetition, intense listening, and deep connective breathing that have been used for thousands of years in all mystical traditions. The singing studio is a place where self-discovery can be encouraged and held with respect. This exploration examined vocal pedagogy as a means to finding one’s personal voice. Little literature exists on voice and self-knowledge, and a search for relevant sources revealed that there appears to be no professional training available in the area of voice and self-knowledge, although many people appear to be developing their own strategies for this purpose. My own experience and practice as a voice teacher with a strong spiritual identity, places me as someone who may benefit from further information about voice and self-development. The study consisted of two phases. Phase one consisted of interviews with three educators who use singing lessons as a tool for development of self-knowledge. The findings of these interviews informed phase two, which was a series of ten singing lessons given to one female adult student who had requested a type of singing study that would promote self-knowledge. The lessons used both traditional vocal techniques and spiritual practices. I discovered that the use of spiritual practice combined with traditional vocal technique deepened the experience of the lessons and enhanced every aspect of my traditional vocal pedagogy. Research that involved the researcher and the process of research so intimately allowed a pedagogy to emerge that is responsive, deliberately non-linear, in which curriculum is shaped dialogically by both student and teacher in an intimate evolving relationship. / Thesis (Master, Education) -- Queen's University, 2009-06-26 18:29:47.772

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1988.

Nearly every voice teacher is aware of problems encountered by students with tightness in the throat or jaw muscles. Classes in vocal pedagogy attempt to solve problems such as these through indirect inference and mental images using psychological and empirical (observation) teaching methods. In fact, many voice teachers will freely admit that singing is mostly a matter of imagination.Traditional teaching methods in voice (an area open to much charlatanism) generally deny the existence of a direct, explicit solution reached through creative problem solving. The purpose of this study was to supply a comparison (through means of accepted research techniques) between students who received traditional instruction in voice and those who received additional scientific information in the form of electromyographic biofeedback to assist them in overcoming the problems of tension or tightness in the muscles supporting the larynx.The population sample of this study consisted of two groups of college voice students suffering from tension problems in the neck and throat.The experimental group consisted of six males and four females, ranging in age from 19 to 43. The control group was made up of nine females and one male ranging in age from 19 to 32.Each subject in the experimental group participated in 10 biofeedback training sessions of approximately one half-hour in length receiving 15 minutes of actual biofeedback during each session. The control group did not receive biofeedback but did receive pre- post-test electromyograms.Data from the two groups was subjected to statistical analysis using the T-test and F-test and the following conclusions were made. In comparing the pre-test means with the post-test mean of the experimental group, a T-test indicated a significant difference at both the 5% and 1% levels of confidence. An F-test between the post-test means of both the experimental and control groups indicated that variations in data did not appear to be due to chance, but to a cause (biofeedback).The null hypothesis was rejected at the 1% level of confidence as a result of the T-test between the post-test means of both the experimental and control group (assuming that the control post-test mean is the population mean). This allows a restatement of the hypothesis in the positive form: There is a significant difference between singers with tension problems in the laryngeal musculature who receive electromyographic biofeedback training and those who do not.The control group clearly showed no significant difference in the pre-test, post-test means at the 1% level of confidence.

This research focused on how three principals in Melbourne boys-only schools view and influence the place of massed singing within their respective school cultures. The views of the principals themselves and their own capacity for self-reflection were critical to the thesis. The study was underpinned by three theoretical propositions: principals, although not usually involved in the teaching of massed singing, nevertheless exert an influence on it; massed singing has a unique power to enhance the broader school culture; and, cultural assumptions about gendered participation in music-making can affect student attitudes towards massed singing. The review of literature highlighted three themes which informed the conceptual framework underpinning the research: organisational and educational leadership; the construct of masculinity in boys’ education and in leadership; and the nature and benefits of massed singing. Given the themes of the review, it seemed appropriate to undertake a study which would be essentially qualitative, interpretive, and based on indepth interviews with the key stakeholders. In the case of each of the three participating principals, data was collected from key documents produced by the schools, from a written questionnaire, and from a semistructured interview. The questionnaire was designed both to collect data and to raise participants’ consciousness prior to the interview. The questionnaire’s 17 questions, structured so as to address the three themes identified through the review of literature, were designed to create a flexible framework for an in-depth exploration of key issues in the context of the interview itself. Findings from the study indicated that there was a very strong belief amongst the participating principals that massed singing affects the overall culture of their schools in a range of profound and significant ways; that they themselves exercise a sponsorial or support role in relation to the singing programs in their schools, and rely on experts for the effective delivery of musical content; that traditional stereotypes of gender can be challenged and debunked through student participation in massed singing; and that their own personal histories of singing, and their favourable disposition towards it, are significant factors in how effectively they are able to promote and support it. The study findings have implications for school leaders and their boards; the teaching profession in general, and choral and vocal educators in particular; parents and the arts community; government education authorities and policy makers; and this researcher himself. Recommendations for further research have also emerged out of this study.

Treatise (D.M.A.) -- Florida State University, 2004. / Advisor: Douglas Fisher, Florida State University, School of Music. Title and description from treatise home page (viewed 9-29-04). Document formatted into pages; contains 73 pages. Includes biographical sketch. Includes bibliographical references.