This was a study of the relationship of situational anxiety to vocal solo performances of college freshmen voice students.

In this treatise, I will examine musical theater as a pedagogical tool for adolescent singers who have just begun training in classical singing technique. In addition to being a viable performance outlet, musical theater offers the student repertoire options in English, and can be used as an exercise in song interpretation. An adolescent with a mediocre voice or limited range can find something within the repertory to accommodate their personal limitations without sacrificing their desire to sing. Musical theater repertoire is a valid teaching tool and, when addressed properly and taught with a strong technical foundation, can be an entertaining and worthwhile addition to the student's growing repertory of song. If approached with serious focus on proper vocal production, a show tune can do for an adolescent voice what an art song may not be able to: it allows the singer to practice their art, while serving as an exercise in interpretation, musicality, and emotional connection. It is my hope to provide insight into how to adapt a rudimentary classical technique to a young voice, in order to pursue this genre safely and efficiently. / text

This study's purpose was to examine and compare pedagogical opinions and suggestions regarding teaching American art-songs recommended as suitable for beginning voice students. Specific problems were to determine 1. The ten American art-songs most recommended by voice teachers for beginning students, 2. Pedagogical opinions and suggestions about these art-songs, 3. Voice teachers' general opinions and suggestions regarding teaching American artsong, 4. Ways in which their opinions and suggestions were similar and 5. Ways in which their opinions and suggestions were dissimiliar.

While the concept of teaching jazz style to vocal students is not a new one, previous materials written on the subject have not addressed two important aspects of this process. One is the concept of selecting jazz vocal solo repertoire that is both musically and vocally purposeful and appropriate for the student. The other is how to teach stylistic concepts that will apply to both current repertoire as well as songs the student will learn in the future. This doctoral essay provides both a categorized list of solo jazz vocal repertoire as well as strategies for introducing stylistic elements of jazz into the private-lesson setting. Through a systematic analysis of jazz vocal standards, a list of repertoire selections was categorized by rhythmic style, melodic range, melodic harmony, melodic rhythm, and harmonic content. In addition, the stylistic need to add syncopations to swing songs with non-syncopated melodies was addressed. Suggestions are included on how to implement this categorized list in the music selection process for students. Furthermore, this essay provides jazz voice teachers with strategies to efficiently incorporate important aspects of jazz styles such as rhythmic feel, song form, improvisation, and harmony into the lesson setting. By showing connections between these concepts and the literature that is being taught, students can become more competent and confident within the vocal and stylistic elements of the jazz idiom.