Annual Directory of Vocal Coaches
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Red Hot & Boom Quiz
Red Hot & Boom Quiz 1. What was the name of the Independence Day celebration that preceded Red Hot & Boom in the 1980s? a. Lights On the Lake b. Fourth of July Jam c. Kaboom Town d. Skyblast 2. Who has been the radio partner with the City of Altamonte Springs for Red Hot & Boom? a. iHeart Radio b. XL 106.7 FM c. Clear Channel d. All of the Above 3. Only one Red Hot & Boom artist has the distinction of creating a dance craze. Los Del Rio performed what mega hit in 1996? a. C’mon Ride the Train b. Gangnam Style c. Macarena d. Cupid Shuffle 4. Many artists began their careers as child stars. Which boy band members were part of the cast of Disney’s The All-New Mickey Mouse Club? a. Jordan Knight & Joey McIntyre (New Kids on the Block) b. Justin Timberlake & JC Chasez (*NSYNC) c. Zach Herron & Jack Avery (Why Don’t We) d. Brady Tutton & Drew Ramos (In Real Life) 5. Several artists have appeared on the floating stage more than once. Which artist’s performances were 16 years apart? a. MAX b. Stacie Orrico c. Jessie James d. Shaggy 6. Florida was experiencing a severe drought and subsequent wild fires, so fireworks were not a part of the event in what year? a. 1998 b. 2000 c. 2005 d. 2013 7. A number of Red Hot & Boom artists have competed on national music competition shows. Which of these performers did NOT appear on American Idol? a. Kimberly Locke b. Alex & Sierra c. -
The Performer As Classical Voice Teacher
THE PERFORMER AS CLASSICAL VOICE TEACHER: EVALUATING THE ROLE OF THE PERFORMER-TEACHER AND ITS IMPACT ON THE STUDENT LEARNING EXPERIENCE MARGARET SCHINDLER S368294 QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY in fulfilment of the requirement of the degree of Doctor of Musical Arts TABLE OF CONTENTS Table of Contents ..................................................................................................................................... i ABSTRACT ....................................................................................................................................... iii ACKNOWLEDGEMENTS .................................................................................................................. iv BOOK CHAPTERS AND PRESENTATIONS ......................................................................................... v STATEMENT OF AUTHENTICITY ...................................................................................................... vi Chapter One: Setting the Scene ................................................................................................ 1 1.1 Introduction .............................................................................................................................. 1 1.2 An auto-ethnography ................................................................................................................ 3 1.3 Rationale for this thesis .......................................................................................................... 10 Chapter Two: -
The Status and the Problem of Western Vocal Music Teaching in Myanmar
Journal of Advanced Research in Social Sciences and Humanities Volume 1, Issue 1 (9-17) DOI: https://dx.doi.org/10.26500/JARSSH-01-2016-0102 The status and the problem of Western vocal music teaching in Myanmar MAI NAY CHI HNIN PWINT OO∗ Department of Music Education, College of Music, Mahidol University, Salaya, Thailand Abstract Aim: The aim of this study is to identify and recommend solutions to the problems not only in teaching but also in learning Western classical vocal music. The research will also consider the benefits of solving these problems. The primary objective of this study was to infer the status and the problems of Western vocal music teaching in Myanmar and to explore the appropriate methods for the solution of the problems in the environment of the government school system. Method: This research used qualitative methods, formal and informal interviews and observation. There were six vocal music teachers from a variety of Music Centers in Yangon, one vocal music teacher from The Myanmar Institute of Theology (Liberal Arts program), Music Department in Myanmar and one vocal instructor from an independent unit who are currently working in that area with at least 2 years’ experience in western vocal teaching as full-time and part-time teachers. Findings: The researcher found through the interviews that most of the vocal music teachers did not study in voice much and most of them did not have the opportunity to study music since they were young. Most of them taught voice to students based on only their experience and what they learnt from experienced teachers. -
“Into the Woods”
59 NUR ZAMZAM AZIZAH 110 2015 0059 “INTO THE WOODS” Into The Woods adalah film drama fantasi musical yang dirilis tahun 2014. Film ini berasal dari Amerika yang disutradarai oleh Rob Marshall dan skenarionya ditulis oleh James Lapine. Film ini diperankan oleh Meryl Streep, Emily Blunt, James Corden, Anna Kendrick, Chris Pine, Tracey Ullman, Christine Baranski, Lilla Crawford, Daniel Huttlestone, MacKenzie Mauzy, Billy Magnussen, dan Jhony Deep. Film Into The Woods ini adalah film fantasi yang menggabungkan beberapa dongeng yaitu Little Red Riding Hood, Cinderella, Jack and The Beanstalk and Rapunzel. Film ini lebih banyak menyajikan nyanyian dari para pemerannya. Film ini menceritakan beberapa karakter yang memiliki harapan hidup yang lebih baik dari sebelumnya. Dalam film ini ada beberapa pesan moral yang berusaha untuk disampaikan kepada penonton. Ada beberapa pesan moral yang dapat saya tangkap dari film ini yaitu : Pertama, ada beberapa adegan dalam film ini seperti saat Ayah dari si tukang roti mencuri sayuran dikebun penyihir yang menyebabkan sang penyihir sangat murka dan akhirnya mengutuk anaknya bahwa dia tidak akan pernah memiliki keturunan. Dan adegan dimana si tukang roti merampas jubah merah dari seorang anak dan membuat anak itu berteriak sekeras mungkin dan pada akhirnya mengembalikkan jubah tersebut. Dari adegan-adegan itu kita bisa mengambil pelajaran bahwa apapun yang kita inginkan itu membutuhkan usaha untuk mendapatkannya. Tidak ada sesuatu yang kita inginkan langsung kita dapatkan. Jika hal tersebut milik orang lain, kita sebaiknya meminta dengan baik-baik kepada sang pemilik. Kita tidak boleh langsung merampasnya karena hal tersebut sangatlah tidak etis. Kedua, nyanyian Cinderella “mother said be good, father said be nice if everyone is blind, always leaving you behind never mind, always be nice, kind, good.” Dari nyanyian Cinderalla tersebut dapat diambil makna bahwa kita harus selalu berbuat baik, ramah dan patuh kepada setiap orang meskipun tidak ada seorang pun yang melihat kebaikan kita. -
Headliners 2016 Central Division Conference Special Concerts 2016
2016 Central Division Conference HHeadlinerseadliners Voces8 Ola Gjeilo is the conductor of Voces8. His photo and bio are on page 49. Voces8 is a headliner at this conference. Their photo and bio are on page 49. 2016 Central Division Conference SSpecialpecial CConcertsoncerts Chicago Children’s Choir Medal, which recognizes achievement through research in authorship, in invention, for discovery, for unusual public service or for anything deemed of great benefi t to humanity. In 2012, she received the Roman Nomitch Fel- lowship to attend the Harvard Business School’s Strategic Perspectives in Nonprofi t Management, a program that provides opportunities for senior executives to examine their missions and develop strategies for the new global economy. Lee received a bachelor’s in piano performance from DePaul University and a master’s in conducting from Northwestern University. Founded in 1956 during the height of the Civil Rights Judy Hanson holds a bachelor’s from Movement, Chicago Children’s Choir (CCC) is a non- the University of Illinois and a master’s profi t organization committed to peacefully uniting a from Northwestern University. As direc- diverse world through education, musical expression, and tor of choral programs, Hanson over- excellence. Serving more than 4,000 children annually, sees and directs the coordination and CCC empowers singers to bridge cultural divides and presentation of all Chicago Children’s become ambassadors of peace in their communities. With Choir programs and guides conduc- programs in more than seventy Chicago schools, ten after- tors in serving more than 4,000 children each year. She school neighborhood programs, an ensemble for boys with serves as the associate director and choreographer for the changing voices, and the internationally acclaimed Voice world-renowned Voice of Chicago and the conductor of of Chicago, the diversity of CCC refl ects the cultural DiMension, a choir for young men with changing voices. -
I Sing Because I'm Free‖: Developing a Systematic Vocal Pedagogy For
―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer D. M. A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Crystal Yvonne Sellers Graduate Program in Music The Ohio State University 2009 Dissertation Committee: Loretta Robinson, Advisor Karen Peeler C. Patrick Woliver Copyright by Crystal Yvonne Sellers 2009 Abstract ―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer With roots in the early songs and Spirituals of the African American slave, and influenced by American Jazz and Blues, Gospel music holds a significant place in the music history of the United States. Whether as a choral or solo composition, Gospel music is accompanied song, and its rhythms, textures, and vocal styles have become infused into most of today‘s popular music, as well as in much of the music of the evangelical Christian church. For well over a century voice teachers and voice scientists have studied thoroughly the Classical singing voice. The past fifty years have seen an explosion of research aimed at understanding Classical singing vocal function, ways of building efficient and flexible Classical singing voices, and maintaining vocal health care; more recently these studies have been extended to Pop and Musical Theater voices. Surprisingly, to date almost no studies have been done on the voice of the Gospel singer. Despite its growth in popularity, a thorough exploration of the vocal requirements of singing Gospel, developed through years of unique tradition and by hundreds of noted Gospel artists, is virtually non-existent. -
A Look at How Vocal Coaching Techniques for Singers Could Be Used to Increase the Effectiveness of Melodic Intonation Therapy on Stroke Patients
A Look at How Vocal Coaching Techniques for Singers Could Be Used to Increase the Effectiveness of Melodic Intonation Therapy on Stroke Patients Eric Dalbey, M.A., B.S., B.A. Dr. Carmen Russell, Ph.D., MS-SLP, CCC • Abstract • 5 Steps of MIT: • Speaking vs. Singing (Jeffries 2004) Although people who suffer strokes can lose the ability to speak, their ability to sing may be retained (Marina 2007). The areas of the brain associated with speaking and singing use an area on the left side of the brain; however, singing also uses frontal parts of the right side of the brain which are unaffected by a left hemisphere stroke affecting speech. Melodic Intonation Therapy is used to exploit this pathway (Schlaug 2010). The overlap between speech and singing can be most easily observed through the shared characteristics of melody (prosody) and rhythm (rate). MIT will use some common words and the clinician will teach the client these phrases by having them sing them while tapping their left hand. The phrases are intoned on just 2 pitches; “melodies” are determined by the phrases’ natural rise and fall of the chosen words. This presentation will compare and contrast the current techniques of teaching MIT against vocal coaching techniques that are normally • Conclusions reserved exclusively for singers. The hope of this exercise is to enrich the current MIT techniques with new ideas that may prove to increase • “MIT in its current form has potential limitations. The first is in the effectiveness and success of this evidence-based strategy to further help use of a small range of pitches, often just two, usually separated by a clients with left hemisphere strokes affecting their speech. -
Vocal-Guide.Pdf
Advice for vocalists and producers for recording vocals A conversation with Jon Marc Weiss, accomplished recording engineer, studio designer, and vocalist. Adele commented on how her pro- You want to have a really good mix for the some experience, you know these things, but ducer got her to sing notes she didn’t vocalist. They need to be able to imagine not when you’re starting out. know she could sing — she was able to their voice in that track. It needs to be sitting Would you say creating a comfortable discover new facets to her voice be- in that track in a place that’s comfortable for environment is important? cause of a producer she obviously them. A lot of engineers won’t put delay or trusted. How do you know how far you reverb on a track until they mix, but with vocals, Yes, absolutely. Sometimes you just have to let you really want it to sound good, you might can push an artist? them know that there’s time, there’s no pres- even want to pick out the reverb you’re going sure and no hurry, and I’m not going to press I think the producer’s experience plays a big to use when you mix, and give the vocalist what record until they’re ready. Of course, a lot of part in this. How many artists they’ve worked they want. When they’re hearing what they times you’re still pressing record to see if you with in their career has a lot to do with their want in the cans, then you’re ready to start the can catch something magical. -
Vocal Techniques for the Instrumentalist
Kansas State University Libraries New Prairie Press NPP eBooks Monographs 2018 Vocal Techniques for the Instrumentalist Amy Rosine Kansas State University, [email protected] Follow this and additional works at: https://newprairiepress.org/ebooks Part of the Higher Education Commons, Music Education Commons, and the Other Music Commons This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License. Recommended Citation Rosine, Amy, "Vocal Techniques for the Instrumentalist" (2018). NPP eBooks. 25. https://newprairiepress.org/ebooks/25 This Book is brought to you for free and open access by the Monographs at New Prairie Press. It has been accepted for inclusion in NPP eBooks by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. VOCAL TECHNIQUES FOR THE INSTRUMENTALIST Amy Rosine, D.M.A. 2nd Edition Copyright © 2018 Amy Rosine New Prairie Press Kansas State University Libraries Manhattan, Kansas Cover design by Kansas State University Libraries Background image courtesy of 1014404 Electronic edition available online at http://newprairiepress.org/ebooks/ This work is licensed under a Creative Commons Attribution-NonCommerical-ShareAlike License https://creativecommons.org/licenses/by-nc-sa/4.0/ ISBN-13: 978-1-944548-19-3 Contents Introduction 2 Chapter 1 Why are you here? 3 Chapter 2 Healthy Singing 6 Chapter 3 Motivation 9 Chapter 4 Learning and Performing Vocal Music 11 Chapter 5 Respiration 13 Chapter 6 Phonation 15 Chapter 7 Voice Range 19 Chapter 8 Resonance 22 Chapter 9 Articulation 26 Bibliography 34 Appendix A Vocal Exercises i Appendix B Practice Log ii Appendix C Glossary iii Appendix D Italian IPA iv About the Author Vocal techniques for the instrumentalist 1 Introduction Heathy vocal production is necessary for everyone in the teaching field. -
One Direction Infection: Media Representations of Boy Bands and Their Fans
One Direction Infection: Media Representations of Boy Bands and their Fans Annie Lyons TC 660H Plan II Honors Program The University of Texas at Austin December 2020 __________________________________________ Renita Coleman Department of Journalism Supervising Professor __________________________________________ Hannah Lewis Department of Musicology Second Reader 2 ABSTRACT Author: Annie Lyons Title: One Direction Infection: Media Representations of Boy Bands and their Fans Supervising Professors: Renita Coleman, Ph.D. Hannah Lewis, Ph.D. Boy bands have long been disparaged in music journalism settings, largely in part to their close association with hordes of screaming teenage and prepubescent girls. As rock journalism evolved in the 1960s and 1970s, so did two dismissive and misogynistic stereotypes about female fans: groupies and teenyboppers (Coates, 2003). While groupies were scorned in rock circles for their perceived hypersexuality, teenyboppers, who we can consider an umbrella term including boy band fanbases, were defined by a lack of sexuality and viewed as shallow, immature and prone to hysteria, and ridiculed as hall markers of bad taste, despite being driving forces in commercial markets (Ewens, 2020; Sherman, 2020). Similarly, boy bands have been disdained for their perceived femininity and viewed as inauthentic compared to “real” artists— namely, hypermasculine male rock artists. While the boy band genre has evolved and experienced different eras, depictions of both the bands and their fans have stagnated in media, relying on these old stereotypes (Duffett, 2012). This paper aimed to investigate to what extent modern boy bands are portrayed differently from non-boy bands in music journalism through a quantitative content analysis coding articles for certain tropes and themes. -
Annual Directory of Vocal Coaches
Annual Directory of Vocal Coaches Music-makersWhether tap intoyou’re this a directory novice or to pro connect singer, with this indieone-of-a-kind labels, marketing MC list enables & promo you experts to connect and indie with publicists.experts who Plus can loads address of contact informationyour tospecial aid you needs in promoting as either youra live music singer career, or recording DIY style: artist. T-shirt The and following CD development, information hasblog been sites verified and social by the media listees. tools. ALEX VARDEN Email: [email protected] COVINGTON SCHOOL OF MUSIC performance, songwriting and career coaching Los Angeles, CA Web: voicercise.net 1111 Village Walk using Darci Monet’s own “Tech and Truth 323-876-ALEX (2539), SKYPE Basic Rate: $50/hr. for private instruction, Covington, LA 70433 Method” for vocals with integration of mindset Email: [email protected] classes also available 985-590-4545 and self-development techniquues. All Web: vardenmusic.com Clients: all levels - adults and children Web: laapa.com contemporary styles. Vocal group coaching, Contact: Alex Varden Basic Rate: please call for info recording session coaching/production, audition Basic Rate: call for rates BOB AND CLAIRE CORFF VOICE STUDIOS and tour prep also available. Ages five and up. Clients: Star Search, Miss Universe, Jazz, R&B, 323-387-9267 (Bob), 323-387-9276 (Claire) Additional locations: Casual, fun, safe and positive environment! Broadway, Pop, Opera, Country stars. 20 years Email: [email protected] #SingLikeYouMeanIt experience (Europe-USA). Web: corffvoice.com 105 Campbell Ave. #3 **Mention this listing for a special discount Services: All styles, levels, technique, Basic Rate: please call for info Mandeville, LA performance, confidence. -
SEP 1 8 2014 of the City of Los Angeles
ACCELERATED REVIEW PROCESS - E Office of the City Engineer Los Angeles, California To the Honorable Council SEP 1 8 2014 Of the City of Los Angeles Honorable Members: C. D. No. 13 SUBJECT: Hollywood Boulevard and Vine Street - Walk of Fame Additional Name in Terrazzo Sidewalk — NEW KIDS ON THE BLOCK RECOMMENDATIONS: A. That the City Council designate the unnumbered location situated one sidewalk square southerly of and between numbered locations 32 and 33 as shown on Sheet 19 of Plan D-30385 for the Hollywood Walk of Fame for the installation of the name of New Kids On The Block at 7072 Hollywood Boulevard. B. Inform the Hollywood Chamber of Commerce of the Council's action on this matter. C. That this report be adopted prior to the date of the ceremony on October 9, 2014. FISCAL IMPACT STATEMENT: No General Fund Impact. All cost paid by permittee. TRANSMITTALS: 1. Unnumbered communication dated September 8, 2014, from the Hollywood Historic Trust of the Hollywood Chamber of Commerce, biographical information and excerpts from the minutes of the Chamber's meeting with recommendations. City Council - 2 - C. D. No. 13 DISCUSSION: The Walk of Fame Committee of the Hollywood Chamber of Commerce has submitted a request for insertion into the Hollywood Walk of Fame the name of New Kids On The Block. The ceremony is scheduled for Thursday, October 9, 2014 at 11:30 a.m. The communicant's request is in accordance with City Council action of October 18, 1978, under Council File No. 78-3949. Following the Council's action of approval, and upon proper application and payment of the required fee, an installation permit can be secured at 201 N.