Thesis (Ph. D.)--University of Washington, 1983. / Vita. Bibliography: leaves [131]-139.

Treatise (D.M.A.) -- Florida State University, 2004. / Advisor: Larry Gerber, Florida State University, School of Music. Title and description from treatise home page (viewed 2-10-05). Document formatted into pages; contains 44 pages. Includes biographical sketch. Includes bibliographical references.

Thesis (B.Sc)--University of Hong Kong, 2007. / "A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, June 30, 2007." Includes bibliographical references (p. 25-27). Also available in print.

Treatise (D.M.A.) Florida State University, 2005. / Advisor: Roy Delp, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-21-2007). Document formatted into pages; contains 65 pages. Includes biographical sketch. Includes bibliographical references.

Treatise (D.M.A.) Florida State University, 2005. / Advisor: Stanford Olsen, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-26-07). Document formatted into pages; contains 71 pages. Includes biographical sketch. Includes bibliographical references.

This study proposes a view of theatre voice as central to performance. It proposes a shift in paradigm through the foregrounding of the function of theatre voice as one of the creative strands of the theatre matrix. The function of theatre voice becomes a theatrical function. Theatre is created in the voice and, therefore, any act of theatre should include conscious questions about the meanings that are, or can be evoked through the voice in theatre. A second thrust to this study is that theatre voice practice should be included in, and theatre voice practitioners should actively engage in, broader debates about theatre. Introduction: The idea that the voice in performance is the enactment of conscious theatrical choices is set up through the notion of the theatrical use of the voice. The introduction outlines the kinds of performance contexts in which a theatrical use of the voice takes shape. This includes an assessment of the degree to which the specific South African context of the writer is useful to questions about a theatrical use of the voice. The concepts which are central to such a view of theatre voice are expanded. These are: the theatrical agency of the actor, theatre voice, the theatrical use of the voice and praxis. Selected examples from local and other productions are offered to illustrate a range of interpretive possibilities open to the voice when considered, in the first instance, as performance. Chapter one: The actor’s relationship with voice is explored through the notion of actor agency. Historically, actors were theatrically empowered by a closer involvement with playwriting, staging, apprenticeship forms of actor training and theatre management. It is argued that the emergence of the director as a new theatrical agent has diminished this actor agency. On the other hand, the introduction of a realist acting methodology has given the actor autonomy of craft, empowering the actor in unprecedented ways. The theatrical agency of actors, directors and theatre voice practitioners is explored as influencing the status and the perception of theatre voice within theatre. The proposal of the centrality of voice to performance is dependent on the agency of actors, directors and theatre voice practitioners. Chapter two: It is argued that an Aristotelian Poetics of Voice has, under the influence of realism, developed into a “Poetics of the Self”. The paradigmatic shift proposed through a view of the voice as central to theatre, is explored through a post realist, intertextuality of voice. This includes a re-consideration of the contemporary theatre voice notion of the “natural” voice. Chapter three: Cicely Berry’s work, with particular reference to The Actor and his Text (1987), is analysed in terms of realism and the theatrical use of the voice. A second focus in the analysis of Berry’s work supports the argument that voice practitioners theorise positions for theatre voice even though their texts are practical and technically orientated. Berry’s work is singled out here because the contemporary practice of the Central School tradition is the generic tradition of South African English theatre voice practice. Chapter four: Strategies and constructs are proposed in support of the centrality of voice to the theatre. Ways of realising a theatrical use of the voice are also suggested. This is based on a shift in the way in which practitioners think about theatre voice. In the first instance, it is suggested that practitioners move beyond positions of polarity and actively embrace that which is contradictory in theatre and theatre voice practice. Secondly, a traditional hermeneutic understanding of the interpretation of voice is challenged. Thirdly, the use of metaphor which is pertinent to actors, directors and voice practitioners is explored as a means to vocal action. Concrete examples of the creative use of the voice, are provided through the sonic texts of Performance Writing. By way of conclusion, some ideas are offered about the issue of empowering the actor in a theatrical use of the voice. This study is intended to contribute to a theoretical and practical debate which will promote the argument for the centrality of voice to performance.

The intent of this study is to attempt to create new scientific criteria for the evaluation of choral literature for senescent singers, The first criterion developed for selection of age-appropriate choral literature was a measurement for voice quality registration called phonetography. Phonetography is the registration of the dynamic range of a voice as a function of fundamental frequency. Manual phonetograms on twenty young adult singers and twenty senescent singers were developed to determine individual frequency-by-intensity relationships of the senescent voice. The graph that was created when all points of minimum and maximum sound pressure levels are connected, thus enclosing the subject's total phonation area, was the singer's phonetogram. Three choral adjudicators were present at the phonetogram testing to determine which pitch levels and dynamic ranges were acceptable for healthy choral singing in each subject. Gelfer acoustic-perceptual rating scales were completed by the choral adjudicators on each phonetogram test subject. Adjectives utilized most frequently by speech pathologists, singers, otolaryngologists, and untrained listeners were codified and confidence ratings were made by each of the four groups who were polled. Appropriate opposites for the selected descriptors were chosen. The Gelfer test results were consistent with phonetogram findings. Criteria for age-appropriate choral literature were proposed from phonetogram data and the Gelfer acoustic-perceptual analyses. The four pieces which were selected as age-appropriate were analyzed by tessiturometry as a final criteria of suitability for aging singers. The tessiturogram is a graphic analysis of the frequency of note occurrence within a composition. Lower tessituras and limited ranges were recommended for aging singers. Choral selections with long phrases, rapid melismatic passages, wide unprepared leaps, and sustained singing should be avoided. High, soft singing for older female singers is not suggested. Rhythmic, homophonic works are recommended for successful performance. Instrumental accompaniments are beneficial in reinforcing the older singers' intonation.

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.

No description available.

Thesis (MMus) -- University of Stellenbosch, 2001. / ENGLISH ABSTRACT: In preparation for the basic teaching in the instruction of the male singing voice, it is essential that the singing teacher becomes thoroughly familiar with the general pedagogical requirements of vocal training. Each of the sections in chapter 1 represents a wide-ranging study by itself but it will be presented in summarized form here. Chapter 2 focus chiefly on basic beginners' instruction which is indispensable for the establishment of a sound singing technique. The teaching principles of beginners' instruction which are set out in this chapter, are based on tested methods recognized internationally by various famous teachers. These teaching methods, together with literary research on this subject, have been condensed empirically over thirty years, into a system of teaching by the writer. The major focus of chapter 3 is on the physiology of the adolescent boy's changing voice. When adolescence sets in, from the age 13 - 15, enormous changes take place in the anatomical-physiological structure of a boy's larynx. These far-reaching changes are brought about by the influence of the sex hormones and consist of complex physical as well as psychological growth stages through which the young boy has to develop. Knowledge of the different stages in voice changes and their individual characteristics of sound are important requirements for voice classification which takes place during the formative training. Chapter 4 focuses on the problematic nature of the transition of the register of the male voice. To prepare for the teaching process of this transition (of the male voice), the teacher should be well-qualified to be able to identify the classification of the registers of the different male voice-types. In addition, he should be totally familiar with the ideal sound typical of the upper registers which would be required from a professional singer on the international stage. "The head register in the male singing voice is often one of the most difficult vocal adjustments to acquire and to maintain ... A well developed operatic head register, 'Vollton der Kopfstimme', is the hall-mark [ ... ] of all well-trained male singers" (Miller 1982: 120). The actualisation of this ideal sound which comes about through copertura-schooling of sound in the upper register is the focal point of this study. Therefore this chapter focuses specially on the ideal sound of the full voice in the upper register versus a cultivated falsetto sound in the upper register. Chapter 5 addresses the implementation of a didactical system by famous singers and singing teachers. Therefore in chapter 5 the focus is placed on the technical training of the secondo passagio by presenting technical exercise and the practical application of the standard vocal repertoire of the male voice. Due to length restrictions of this dissertation, there will be reference only to some technical exercise and examples of repertoire. / AFRIKAANSE OPSOMMING: As voorbereiding tot die didaktiese beginsels in sangonderrig van die manstem is dit noodsaaklik dat die sangonderwyser volkome vertroud sal wees met die algemene pedagogiese voorvereistes vir die onderrig van sang. Elkeen van die afdelings in hoofstuk 1 regverdig eintlik 'n omvattende studie in sigself, maar hier word dit samevattend aangebied. Hoofstuk 2 fokus hoofsaaklik op goeie aanvangsonderrig wat onontbeerlik is vir die vestiging van 'n goeie sangtegniek. Samevattend word op die noodsaaklike basiese beginsels van aanvangsonderrig gekonsentreer. Die didaktiese beginsels van aanvangsonderrig wat vanaf hierdie hoofstuk uiteengesit word, is gebaseer op beproefde metodes wat internasionaal deur verskeie beroemde leermeesters erken word. Hierdie onderrigmetodes, tesame met die nagevorsde vakliteratuur, is oor 'n tydperk van dertig jaar op empiriese wyse deur die skrywer gekondenseer tot 'n sisteem van onderrig. Die kemfokus van hoofstuk 3 is op die stemfisiologie van die adolessente seun. Wanneer adolessensie vanaf die ouderdom van dertien tot vyftien jaar by die seun intree, vind daar groot veranderinge in die anatomies-fisiologiese struktuur van die seun se larinks plaas. Hierdie ingrypende veranderinge word teweeg gebring deur die invloed van die geslagshormone en behels fisiek sowel as psigies 'n komplekse groeifase waardeur die jong seun moet ontwikkel. Dit is belangrik dat die pedagoog deeglik vertroud sal wees met hierdie komplekse groeiproses. Kennis van die verskillende stemmutasiestadiums en die individuele klankkarakters daarvan is 'n belangrike voorvereiste vir die stemklassifisering wat by aanvangsonderrig plaasvind. In hoofstuk 4 val die soeklig op die problematiek van registeroorgange by die manstem. As voorbereiding tot die onderrigproses van die registeroorgange van die manstem moet die pedagoog onderleg wees in die klassifisering van die registers van die verskillende manstemtipes. Ook moet hy ten volle vertroud wees met die tipiese klankideaal van die hoëregister wat van 'n professionele sanger op die internasionale verhoog verwag word. "The head register in the male singing voice is often one of the most difficult vocal adjustments to acquire and to maintain . . . A well developed operatic head register, 'Vollton der Kopfstimme', is the hall-mark [ ... ] of all well-trained male singers" (Miller 1982: 120). Die verwesenliking van hierdie klankideaal wat deur copertura-klankgebruik in die hoëregister tot stand kom, is die kemfokus van hierdie studie. Hierdie hoofstuk konsentreer dus sterk op die klankideaal van volstem in die hoëregister versus 'n gekultiveerde falsetklank in die hoëre gister. Vir die verkryging van 'n stabiele hoëregister deur middel van die copertura-tegniek word in hoofstuk 5 betoog vir die toepassing van 'n didaktiese sisteem wat gebaseer is op onderrigmetodes wat beproef is deur beroemde sangers en sangpedagoë. In hoofstuk 5 is dus gekonsentreer op die tegniese skoling van die secondo passaggio deur middel van tegniese oefeninge en die praktiese toepassing daarvan op die standaard sangrepertorium van die manstem. Weens lengtebeperking by hierdie skripsie word daar net na enkele tegniese oefeninge en repertoriumvoorbeelde verwys.