Thesis (MMus) (Music))--University of Stellenbosch, 2010. / AFRIKAANSE OPSOMMING:In Suid-Afrika, soos in ander lande, gebeur dit dikwels dat sangers in een of ander stadium van hul loopbaan met stemmoeilikheid/’n stemprobleem te doen kry. Die mees algemene reaksie is om ’n oor-, neus- en keelspesialis (ONK-spesialis) te besoek vir hulp. Die sangaktiwiteit vereis egter ’n baie fyn gebalanseerde kondisie van die sangapparaat en dit blyk dat die oorsprong van die meeste stemprobleme onder sangers funksioneel van aard is. Daarom word daar van die veronderstelling uitgegaan dat die mees suksesvolle behandelingsroete vir die sanger met ‘n stemprobleem ‘n integrale interdissiplinêre benadering behels wat nie net die ONK-spesialis insluit nie, maar ook ‘n spraakterapeut en sangpedagoog. Anders as in Suid- Afrika, word hierdie interdissiplinêre benadering alreeds algemeen toegepas in lande soos die VSA en Brittanje. Hierdie studie vind plaas vanuit die oogpunt van die sangpedagoog en identifiseer die nodige kennis en praktiese ondervinding wat sodanige sangpedagoog sal benodig om suksesvol as deel van ’n interdissiplinêre span in die behandeling van sangers met stemprobleme te funksioneer. Om hierdie doel te verwesenlik, neem die studie die vorm van ’n gevallestudie aan waarin die navorser binne die bestek van verskeie maande konsultasies met sangers met stemprobleme binne ‘n mediese stemkliniek onder leiding van ’n ONKspesialis prakties geobserveer het. Deurgaans word sodanige gevallestudies weergegee en bespreek. Dit sluit o.a. die rol van elk van die interdissiplinêre spanlede, oorsake en behandeling van tipiese stemprobleme onder sangers, asook die spesifieke rol van die sangpedagoog in die behandelingsproses, in. In die geheel het hierdie studie getoon dat daar ’n groot leemte en onkunde onder baie sangers bestaan (veral amateursangers) wat die nodige sorg en hantering van hul sangstem betref. Hiperfunksionele stemproduksie a.g.v. foutiewe stemgebruikgewoontes, afwesigheid van sangopleiding en onkunde op die gebied van stemhigiëne en -sorg was opvallend. Dit blyk dat die sangpedagoog, in noue samewerking met die ONK-spesialis en spraakterapeut, ‘n kritieke leemte kan vul in die gespesialiseerde opvoeding en behandeling van sangers met stemprobleme. / ENGLISH ABSTRACT: In South Africa, as in other countries, singers frequently happen to experience voice problems at some or other stage in their career. The general reaction to this problem is to seek help from an ear, nose and throat specialist (ENT specialist). Seeing that the activity of singing requires such a finely balanced condition of the vocal instrument, it seems that the origin of most voice problems singers experience are of a functional nature. This study is based on the premise that the most successful way of treating an artist with a voice problem is via an integrated interdisciplinary team approach, which includes an ENT specialist as well as a speech therapist and a singing pedagogue. Unlike in South Africa, this interdisciplinary approach is already common practice in countries such as the USA and the UK. The study is conducted from the viewpoint of a singing pedagogue. It identifies the knowledge and practical experience the singing pedagogue would require to function successfully as part of an interdisciplinary team in the treatment of singers with voice problems. To succeed in this goal the study takes on the form of a case study. The researcher practically observed consultations with singers over several months in a medical voice clinic under the leadership of an ENT specialist. These case studies are reflected and discussed throughout this thesis. Amongst others, this includes the role of each member of the interdisciplinary team, the causes and treatment of typical voice problems amongst singers, as well as the specific role of the singing pedagogue in the treatment process. It is found that a great deal of ignorance exists amongst many singers (especially amateur singers) in respect of the necessary care and management of their singing voice. Hyperfunctional voice production due to incorrect voice-use habits, the absence of vocal training and ignorance regarding vocal hygiene and voice care were encountered frequently.

Thesis (MMus) - Stellenbosch University , 1986. / INLEIDING: By die instudeer van 'n aantal Schubert-liedere het die skryfster onder die indruk gekom van nie alleen die skoonheid van die poëtiese en musikale inhoud nie, maar veral ook die pedagogiese waarde daarvan. 'n Behoefte om die potensiaal van die Schubert-liedere as onderrigmateriaal te ondersoek, het ontstaan.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-09-28T12:25:17Z No. of bitstreams: 1 Marcela Gonzalez Martinez.pdf: 1359166 bytes, checksum: 8aa0daeb732a05f52144563de0e04970 (MD5) / Made available in DSpace on 2018-09-28T12:25:17Z (GMT). No. of bitstreams: 1 Marcela Gonzalez Martinez.pdf: 1359166 bytes, checksum: 8aa0daeb732a05f52144563de0e04970 (MD5) Previous issue date: 2017-08-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Introduction: the tubes phonation exercises were proposed in the 1960s. In speech therapy these exercises are performed on a wide variety of vocal disorders in both speaking and singing voice. Objective: to investigate the application of the tubes phonation exercises by singing teachers. Method: the sample was finished with 75 singing teachers, the majority women (69.3%), with a mean age of 37.7 years. The subjects were selected through snowball technique and the inclusion criteria were: to use the tubes in the singing classes and to have minimum experience of two years as a teacher. A specific survey was developed for the study. In the first part the characterization of the sample has been made and in the second, specific questions were asked about the use of the tubes and what the reasons that made the teachers use this resource in their singing classes. The research was done online using the Google Forms platform. Results: the flexible plastic straws accounted for 81.3% of the possibilities of tubes that can be worked in the singing classes, followed by the flexible silicone tubes with 70.7% of the sample. The singing teachers (74.7%) reported that they learned the tubes techniques in courses, workshops, conferences and/or college, and the second largest group (52%) learned from speech therapists and/or singing teachers. The effect category was chosen as the main reason for the use of tubes in singing classes, with 56%, the glottal source was the second most pointed reason (41.3%). The other categories were of body and breath (33.3%), filter (30.7%), others (13.3%). Conclusion: the group of singing teachers investigated by this research revealed that they use tubes phonation in their classes due to the perceived effect after performing these exercises. The application of these instruments in singing classes is recent and the flexible plastic tube is the most used among teachers / Introdução: os exercícios de fonação em tubos foram propostos na década de 60. Na terapia fonoaudiológica esses exercícios são executados em uma grande variedade de distúrbios vocais tanto na voz falada como na cantada. Objetivo: Investigar a aplicação do exercício de fonação em tubos por professores de canto. Método: a amostra foi finalizada com 75 professores de canto, sendo a maioria do sexo feminino (69.3%), com média de idade de 37.7 anos. Os sujeitos foram selecionados por meio da snowball tecnique e os critérios de inclusão foram: utilizar os tubos nas aulas de canto e possuir experiência mínima de dois anos como professor. Foi elaborado, pela pesquisadora e orientadora com base na experiência profissional e na literatura, um questionário especifico para o estudo. Na primeira parte foi feita a caracterização da amostra e na segunda perguntas específicas sobre o uso dos tubos, quais os motivos que fizeram os professores utilizarem tal recurso em suas aulas de canto. A pesquisa foi realizada por via digital com a plataforma Google Formulários. Resultados: os tubos de plástico flexível representaram 81.3% dentre as possibilidades de tubos que podem ser trabalhadas nas aulas de canto, na sequência, foram escolhidos os tubos de silicone flexível com 70.7% da amostra. Os professores da pesquisa (74.7%) relataram que aprenderam a técnica dos tubos em cursos, workshops, congressos e/ou faculdade e o segundo maior grupo (52%) aprendeu com fonoaudiólogo e/ou professor de canto. A categoria efeito foi escolhida como o principal motivo para a utilização dos tubos nas aulas de canto, com 56% e em seguida a fonte glótica foi o segundo motivo mais citado (41.3%). As demais categorias corpo e respiração (33.3%), filtro (30.7%), outros (13.3%). Conclusão: o grupo de professores de canto investigados por essa pesquisa revelou que executa a fonação com os tubos em suas aulas devido ao efeito percebido após realização desses exercícios. A aplicação desses instrumentos nas aulas de canto é recente e o tubo flexível de plástico é o mais utilizado entre os docentes

Differences may exist between the voice qualities of those who professionally use and train their voices and those who do not. The examination of fundamental frequency and frequency range m actresses and non-actresses is integral to determining voice quality differences in these populations. These differences, whether the result of frequent use or training of the voice, may exist relative to fatiguing conditions such as may be experienced by actresses in the course of their work. Fatigue has been shown to produce greater effects in normals than in performers, particularly in singers (Gelfer, Andrews, and Schmidt, 1991). Little research has been found comparing actresses to non-actresses in such an interaction effect. In order to determine whether a separate set of normative values should be sought for actresses, it is first necessary to determine whether significant differences exist between these populations in voice quality parameters. The purpose of the present study was to determine whether or not significant changes in fundamental frequency and frequency range occurred in non-actresses relative to actresses as a result of fatigue. The subjects for the study included ten actresses between the ages of 20 and 30 who had a minimum of one quarter of voice training and three years of acting experience and ten women of the same age group who had no voice training or experience in acting. Each subject passed a puretone audiometric screening, had a negative history of voice disorders, and had not smoked within the last year. These two groups were evaluated for: 1) fundamental frequency in prolonged productions of the vowel lal; 2) speaking fundamental frequency in connected speech; 3) frequency range in sung scales; and 4) frequency range in connected speech. Data was statistically analyzed using one way ANOV A tests with repeated measures. No significant interactions occurred between group and time, suggesting that non-actresses did not produce a greater shift than did actresses in fundamental frequency or frequency range as a result of fatigue. These results contradicted some findings and supported other findings of previous research based on similar samples.

In New South Wales education, music is a mandated primary school subject incorporated in the key learning area of Creative Arts. In secondary education, music is typically a mandatory Stage 4 subject and an elective subject choice in Stages 5 and 6. School music syllabuses include singing as a performance experience. The methodology and appropriateness of teaching children and adolescents to sing are issues expressed in the literature. Research and scientific based understanding of the voice clearly indicate that care should be taken when teaching singing to developing voices. These reasons, together with the presumption that all students will sing at some stage during their schooling, invoke the primary research questions of “who teaches school singing?”, “what types of school singing are taught?”, “how is school singing taught?” and “why is school singing taught?”. Through an investigation and analysis of teacher perspectives, this study addresses these questions in relation to teaching singing in Sydney government schools. The research is comprised of two parts. Part 1 was a broad-based questionnaire approach that generated qualitative and quantitative data. By encompassing primary and secondary classroom and/or choir teachers (127 respondents), school singing within a continuum of learning was investigated. Part 2 extended the format and focus of Part 1 by undertaking qualitative in-depth interviews of teachers (10 participants) sampled to investigate a range of key issues and school singing cultures. The study found that school singing at primary level was predominantly taught by generalist classroom teachers. A range of primary specialist teachers - dedicated music and/or choir specialist teachers, designated music and/or singing specialist teachers and dedicated performing arts specialist teachers – was identified as also teaching school singing activities. Secondary classroom music teachers were those found to teach, either solely or in conjunction with singing tutors, secondary school singing. The study determined that school singing was an activity occurring in conjunction with music syllabuses (syllabus singing), in relation to other syllabuses (co-syllabus singing) and irrespective of syllabus connections (non-syllabus singing). In addition, ancillary syllabus singing linked singing activities occurring outside the music classroom to syllabus singing within the music classroom. Co-syllabus singing was identified as being either thematic (illustrating a topic area) or supplementary (reinforcing learning in a non-musical area). In addition to defining the types of school singing in relation to both primary and secondary syllabuses, there was evidence of a dichotomy in school singing between teaching singing (formal singing) and the teaching of, or inclusion of, singing activities (informal singing). Determining whether students were taught a song or taught how to sing (it) in Sydney government schools, formed one of the major areas of impetus and focus for the study. After identifying 19 components present in respondent data at elemental or proficient levels, comparison and inclusion rates of teaching components were used to determine five levels of respondent teaching approaches - sing-along, song, song dominant, functional and developmental. Descriptive statistics and univariate statistical analysis of components revealed that component inclusion increased as the level of teaching approach increased. Independent-sample t-tests showed that there were significant differences between approaches to teaching school singing and the types of teachers who teach school singing (for example between specialist/non-specialist teachers). Contributory factors of school singing were identified as support for school singing, objectives of school singing, aptitude for school singing and constraints that restricted school singing. The types of school singing found their origins in the purposes of the singing activities. In some cases, the school culture also determined the types and purposes of school singing. Where school singing was established within the school culture, singing activities were reported as being well supported and the school culture was such that it encouraged or even enabled singing activities to occur. Conclusions drawn from the research findings have implications for the pre-service and in-service training of teachers, for those responsible for school singing activities and for those writing curriculum, curriculum related documents and teaching resources. / Doctor of Philosophy (PhD)

Vocal Health and Repertoire for the Dramatic Mezzo-Soprano: A Suggested Course of Study brings together the fields of vocal pedagogy and performance. This curriculum guide focuses on repertoire for the Dramatic Mezzo-Soprano, ages 18-30. The guide includes selections from the genres of art song (beginning, intermediate, and advanced levels), opera and oratorio arias, concert works, and song cycles. Selected art songs and arias are presented from a vocal health perspective, using McKinney’s eight principles of Good Vocal Sound. In addition, the Comprehensive Musicianship through Performance model is integrated via the identification of a focus skill for each song or aria. This suggested course of study emphasizes proper vocal technique and offers suggestions when studying and singing the larger works of the Dramatic Mezzo-Soprano repertoire. These suggestions include recommendations gleaned from interviews with well-known mezzo-sopranos Mignon Dunn and Dolora Zajick concerning their opinions regarding repertoire, vocal health, and appropriate song and aria assignments for the Dramatic Mezzo-Soprano. The guide also includes insights into training methods for today’s young dramatic voices based on observations of The Institute for Young Dramatic Voices. Key outcomes and implications are that Dramatic Mezzo-Sopranos must take the time to develop their voices before singing the more advanced arias of the standard repertoire, such as those by Verdi and Wagner, and this can be done through the study of art song. Further, Dramatic Mezzo-Sopranos must be strong technically in their approach to singing to help ensure vocal health and to avoid excessive strain on the vocal folds at all times. Dramatic Mezzo-Sopranos must also have strong skills in musicianship and performance in order to meet the demands of the repertoire for this voice type. The information presented in this curriculum guide will assist both voice teachers and performers in the teaching and singing of repertoire for the Dramatic Mezzo-Soprano. / Review of literature -- Design and method -- Mignon Dunn, Dolora Zajick and the Institute for Young Dramatic Voices -- Curriculum guide -- Summary and recommendations. / School of Music

The purpose of this study was to identify the perceptions of voice teachers regarding the degree to which they believe they teach and monitor healthy vocal behaviors among their students as they sing and speak. Participants for the study were college/university voice professors who were members of the College Music Society and listed in its Directory of Music Faculties in Colleges and Universities, U.S. and Canada, 2012-2013 Edition. Online, survey research procedures and a researcher-generated questionnaire were utilized for data collection purposes. Results indicated that an overwhelming majority of participants believed there to be a relationship between the health of one’s singing voice and the health of one’s speaking voice. Participants’ perception scores were the most positive for variable MBSi, or the degree to which they believe they monitor the vocal behaviors of students when singing. Participants’ perception scores for variable TVB, the degree to which they believe they teach healthy vocal behaviors to students, and variable MBSp, the degree to which they believe they monitor the vocal behaviors of students when speaking, ranked second and third respectively. Perception scores for variable TVB were primarily associated with participants’ familiarity with vocal rehabilitation techniques, gender, and participants’ familiarity with the McClosky Technique. Perception scores for variable MBSi were primarily associated with participants’ familiarity with vocal rehabilitation techniques, gender, type of student taught, and whether participants had instructed a student with a vocal disorder. Perception scores for variable MBSp were correlated with the greatest number of characteristics, including participants’ familiarity with vocal rehabilitation techniques, participants’ familiarity with the McClosky Technique, type of student taught, years of teaching experience, and whether participants had instructed a student with a vocal disorder. The researcher concluded that, while many voice teachers understand the relationship between the health of the speaking voice and the health of the singing voice and use various methods within their private studios to work with injured voices, voice teachers and students may not understand, nor be adequately prepared to prevent and intervene when it comes to issues of the speaking voice. In fact, the researcher concluded that there seems to be a disconnect among teachers and students alike when it comes to teaching and understanding healthy vocal behaviors and applying them to the speaking voice. Multiple resources exist, however, in the form of various certifications, symposiums, and workshops, through which voice teachers may avail themselves of the knowledge necessary to care for the overall health of their students’ speaking and singing voices. Indeed, the voice teacher is obligated to teach well-rounded, healthy vocal behaviors, applying them to both the singing voice and the speaking voice. As medical professionals more frequently reach out to voice teachers, voice teachers will have increased opportunity to assume a more active role on a voice care team. Because so many teachers already implement methods found within the McClosky Technique, if used with understanding and commitment, the Technique could be a means for habilitation, prevention, and intervention on behalf of students suffering from speaking voice disorders within the voice studio. / Access to thesis permanently restricted to Ball State community only. / School of Music

Thesis (Ph.D) -- University of Western Sydney, 2007. / A thesis submitted to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfillment of the requirements for the degree of Doctor of Philosophy. Includes bibliographical references.

Thesis (D. Min.)--Northern Baptist Theological Seminary, 2007. / Abstract. Includes bibliographical references (leaves 72-73).

Thesis (D. Min.)--Northern Baptist Theological Seminary, 2007. / Abstract. Includes bibliographical references (leaves 72-73).