Thesis (D.Mus.Arts)--University of Washington. / Bibliography: l. [62]-65.

This investigation surveys pertinent literature, from 1917 to 1982 inclusive, regarding artistic vibrato and tremolo in singing. The contents are subdivided into individual investigative reports by various vocal researchers. Due to mounting confusion within the amassed literature, the need for systematic organization and evaluation is evident. Misunderstandings within the context of the literature and misnomers within the terminology require clarification and resolution. The evaluation intends to produce a proper perspective on vibrato and tremolo, eradicating some of the confusion surrounding the terms. Artistic vibrato is recognized as a desirable component in Western vocal music. In contrast, tremolo is deemed a deviant vibrato, i.e., a vibrato which deviates from artistic norms. The study attempts to clarify the distinguishing traits of these two vocal phenomena.

Thesis (A.Mus.D.)--University of Houston, 2000. / Includes bibliographical references (leaves 102-106).

The purpose of this descriptive study was to first identify to what extent first-year college violinists physically struggle with the vibrato motion, and further, to identify physical problems within the motion that are contributing to their challenges during the learning process. The 16 participants in this study were chosen randomly from the College Music Society Directory of Music Faculties in Colleges and Universities (2013-2014 edition). Participants completed a questionnaire of 32 quantitative and qualitative questions addressing the vibrato of their 2013-2014 first-year violinists. 62% of participants’ first-year students had a physical problem with vibrato, 70% of participants’ students were working on correcting physical problems in vibrato during lessons. Participants also reported that 15% of their students were not able to create a vibrato motion at all. Almost all professors (n=15) indicated that students with a problematic vibrato were too tense in parts of the arm or hand and this negatively affected the motion and thus, the sound. Specific problems also included vibrato being too narrow, but rarely too wide, vibrato being too fast or too slow caused by tension, problems with when and how vibrato was being applied, problems with maintaining intonation before or during use of vibrato, and problems with not understanding the motion needed or imagining an intended sound. Most professors used movement terminology to describe physical problems with vibrato as well as aural problems with vibrato. Only a few professors discussed aural problems in vibrato using terminology depicting the sound. Participants revealed that the most commonly used types of vibrato amongst their first-year students were arm vibrato and a combination vibrato (use of wrist, arm and finger vibratos). Most participants also listed these combined parts of finger, wrist and arm in their own definitions of a good-sounding vibrato. Results from this study can be directed to the attention of classroom teachers, studio teacher and private instructors to these specific physical and aural problems before a student begins to study vibrato early in learning. Conclusions suggest possible ways in which the college or pre-college teacher can address these issues in students that have a problematic vibrato motion.

This study is based on the premise that modern day performances of late Renaissance sacred music are informed more by biases and assumptions concerning performance practice rather than on information gleaned from the primary sources. The result is homogeneity in performance practice within this body of literature which is in direct contradiction to the primary sources. Four controversial areas of performance practice, vibrato, text expression techniques, ornamentation and doubling instrumentation, are investigated in this document in the context of four motets by Luca Marenzio (1553-1599). Findings from primary sources contemporary to Marenzio's time that relate to these four performance practice areas are closely examined and reinterpreted, and suggestions are given for historically informed application of these findings to contemporary choral performance settings. This examination of primary sources indicates that each of Marenzio's motets constitutes its own "soundscape" with a unique set of attendant performance practices, which has great implications for performances of late Renaissance sacred music as a whole.

Thesis (Ed.D.)--Teachers College, Columbia University, 1999. / Includes bibliographical references (leaves 221-230).

Dissertation (PhD) Florida State University, 2006. / Advisor: John Geringer, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-9-07). Document formatted into pages; contains 138 pages. Includes biographical sketch. Includes bibliographical references.

Learning a musical instrument is a complex process that involves cognitive, physical, environmental, and motivational factors. When adolescent students first learn a musical instrument, they can demonstrate a fixed or growth mindset (or a mixture of both) when it comes to their beliefs about their skills. Research indicates that adolescents who receive mindset interventions increase academic performance and improvements in their overall mental health and well-being. Music education researchers have found that many musicians lack the mental strategies to improve competency beliefs, but there is scant research on growth mindset interventions in music classrooms. Among bowed string educators and musicians, vibrato is considered to be a skill with both mental and physical challenges. The purpose of the study was to examine the experiences of eighth grade students who receive a growth mindset intervention while learning vibrato in a heterogeneous string classroom. The participants were a sample of eighth grade students from the researcher’s classroom who were learning vibrato for the first time. All students completed a mindset inventory quiz to determine whether they have a fixed or growth mindset orientation. The entire class participated in research-based mini-lessons, class discussions, journaling in the Growth Mindset Workbook for Teens (Schleider et al., 2021), supplemental goal and reflection activities specific to vibrato skills, and video reflection to give students a different format for reflection alongside vibrato instruction. Although descriptive data was gathered from the whole class, a sample of seven participants was selected to examine students’ lived experiences in-depth. To focus on the students’ perspectives and lived experiences, data was collected and analyzed through the lens of Interpretive Phenomenological Analysis. The participants were selected using maximum variation sampling to represent a variety of perspectives: mindset scores, instrument, ethnicity, and gender. Data collection from the study included teacher observation (written journaling), student interviews, journal samples (mix of media recording and written), as well as pre- and post-intervention mindset surveys. While the participants displayed a mix of mindsets about their vibrato throughout the study, many of the students reported that mindset activities helped them improve their mindset and vibrato learning experience. The researcher found that consistent use of both mental (particularly mindset) and physical strategies supported the acquisition of the challenging skill of vibrato. The class was generally more motivated to learn vibrato, less likely to give up when it was difficult, and applied vibrato to their music on their own when compared to previous classes. The results of the study support previous research that others can have an impact on students’ mindsets, particularly family, peers, and educators. The study contributes to the limited research on growth mindset in the music classroom and provides implications for mindset training for young musicians. It also contributes to the limited body of research in string vibrato pedagogy and may provide more implications for the mental processes of learning vibrato.

No description available.

This study examines the history and development of vibrato among classical saxophonists as well as briefly summarizes the history of vibrato in general from its origins on string instruments, the voice and other wind instruments. An analysis of recordings of early saxophonists shows the approximate time period of incorporation of vibrato on the saxophone and the influences of performers and musical styles on its development. Pedagogical methods of performing vibrato on the saxophone are included as well as a discussion of saxophone vibrato styles. An exploration of vibrato as an expressive musical device is provided along with conclusions drawn concerning performance practice implications.