DOCSLIB.ORG

Patterns of Vocal Fold Closure in Professional Singers

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Patterns of Vocal Fold Closure in Professional Singers PATTERNS OF VOCAL FOLD CLOSURE IN PROFESSIONAL SINGERS CARIE VOLKAR Master of Music in Voice Performance University of Akron May 2005 submitted in partial fulfillment of requirement for the degree MASTER OF ARTS IN SPEECH-LANGUAGE PATHOLOGY AND AUDIOLOGY at the CLEVELAND STATE UNIVERSITY MAY 2017 We hereby approve this thesis for Carie Volkar Candidate for the Master of Arts in Speech Pathology and Audiology degree for the Department of Speech and Hearing and the CLEVELAND STATE UNIVERSITY’S College of Graduate Studies by Thesis Chairperson, Violet O. Cox, Ph.D., CCC-SLP _____________________________________________ Department & Date Thesis Committee Member, Myrita Wilhite, Au.D. _____________________________________________ Department & Date Thesis Committee Member, Brian Bailey, D.M.A. _____________________________________________ Department & Date Student’s Date of Defense: May 2, 2017 ACKNOWLEDGEMENTS I would like to take this opportunity to thank all those who guided me through this process. I would like to thank my family for their love and support throughout my life and education. I would also like to thank my friends for always being there for me and pushing me to take care of myself while in the program. I would like to express my most sincere gratitude to my thesis chairperson, Dr. Violet Cox for her mentorship throughout my thesis and this program. I would like to thank her for the enthusiasm and passion she shared for my research topic. I would like to thank her for training me in stroboscopy and for being the methodologist in my investigation. I thank her for her patience and motivation to finish this step towards completing my Master’s degree. I also would like to thank her for the immense knowledge I have gained from the courses she has taught throughout the program. It is because of her that I feel confident working in the medical setting of our field. Additionally, I would like to thank the Dr. Brian Bailey and Dr. Myrita Wilhite, thesis methodologists and members of my thesis committee for their insightful feedback and support of my research. I would like to express my gratitude to the participants for taking the time out of their lives to be a part of this study and the trust it takes to be examined in this manner. I would like to thank all the supervisors I have worked with for helping to shape me into the clinician I have become. Lastly, I would like to thank and congratulate my entire cohort. If it had not been for meeting these dedicated and intelligent clinicians I am not sure I would have survived this process. Thank you from the bottom of my heart. PATTERNS OF VOCAL FOLD CLOSURE IN PROFESSIONAL SINGERS CARIE VOLKAR ABSTRACT The present study aimed to investigate differences in vocal fold (VF) closure patterns in singers of varying genres with use of videostroboscopy. Three participants were selected to be in groups of different singing genres including classical, musical theatre, and pop/rock. A control group of non-singers were also included. Vocal tasks were assessed through acoustic, subjective, and stroboscopic analysis. Significant differences were observed between the classical group of singers and the pop/rock group. The VF closure patterns were relatively normal for the classical singers in comparison to the abnormal patterns in pop/rock singers. The musical theatre group had both normal and abnormal patterns. There was no significant differences between groups when analyzing the acoustic data through descriptive means. The acoustic data indicated all participants within relatively normal limits for the parameters assessed, except some inconsistencies with maximum phonation time (MPT). The subjective analysis showed differences between the classical and pop/rock groups in terms of vocal health and hygiene. The classical group showed the best vocal health and hygiene practices compared to the fair practices of the pop/rock group. The results between the classical and pop/rock group indicates that the lack of vocal training and competing with loud instrumentation in noisy environments may contribute to the recruitment of laryngeal musculature to achieve VF closure. These findings may indicate the need of vocal training and education in vocal health and hygiene for pop/rock singers. iv TABLE OF CONTENTS Page ABSTRACT…………………………………………………………………………….. iv LIST OF FIGURES…………………………………………………………………...... vii LIST OF TABLES & GRAPHS…...……………………………………...…...……..... viii NOMENCLATURE……………………………………………………..…...………..... ix CHAPTER I. INTRODUCTION…………………………………………………………………….. 1 Physiology of Voice Production……………………………………...………….. 1 Parameters of the Vocal Folds…………...…………………………...………..… 3 The Professional Voice………………………………………………………..... 10 Purpose…………………………………………………………………..……… 12 Literature review…………………………………………………………...…… 13 Hypothesis and solution………………………………………………………… 16 II. METHODS…………………………………………………………………………... 18 IRB/Consent……………………….………….………………………………… 18 Participant Selection………………....…………………………………………. 18 Objective Vocal Analysis…………………………………..……………..……. 20 Videostroboscopy…………..………………………………………..…………. 21 Subjective Vocal Analysis……………………………………………..……….. 22 III. RESULTS…………………………………………………...……………..……….. 23 Videostroboscopy…………………………………………….…………..…….. 24 Classical/Opera Singers………………………………………………… 24 Musical Theatre Singers………………………………………………... 29 Pop/Rock Singers……………………………………..……………..….. 33 Non-Singers…………………………………………………………….. 38 v Aerodynamic and Acoustic Vocal Parameters………..……….…………..…… 41 Classical/Opera Singers………………………………………………… 44 Musical Theatre Singers………………………………………………... 45 Pop/Rock Singers……………………………………………...……...… 47 Non-Singers…………………………………………………………….. 48 Perceptual Self-Assessment of Voice………………………….……………….. 49 IV. DISCUSSION………………………………………………………………….…… 53 Conclusion……………………………………………………………………… 53 Limitations and Future Research…………………………………………….…. 59 REFERENCES………………………………………………………………….……… 61 APPENDICES…………………………………………………………………..……… 65 A. Instructions to Participants…………………………………………………….. 66 B. Consent Form……………………………………………………...……...…… 68 C. Brief Screening Tool……………………………………………………...…… 70 D. Voice Evaluation Form………..…………………………………………..…... 71 E. Praat™ Acoustic Participant Data…………………………………………….. 73 vi LIST OF FIGURES Figure Page 1.1 Laryngeal anatomy………………………………………………………...…………. 2 1.2 Vocal folds set in motion by airstream……………………………………..…........... 2 1.3 Assessment of glottic closure patterns…………………………………………..…… 6 1.4 Common vocal fold closure patterns……………………………….………..…….… 6 1.5 Amplitude and phase patterns…………………………………….………………….. 8 1.6 Periodic vibrations……………………………………………….…………………... 9 3.1 Classical/opera participant male 25………………...…………….………………… 24 3.2 Classical/opera participant female 26……………………………...……………….. 26 3.3 Classical/opera participant male 28………………………………………………… 27 3.4 Musical theatre participant female 21…………..……………...…………………… 29 3.5 Musical theatre participant male 26………………………………………………… 30 3.6 Musical theatre participant female 36……………………….……………………… 31 3.7 Pop/rock participant female 21……………..………………………………….…… 33 3.8 Pop/rock participant male 29……………………………...…………………...…… 35 3.9 Pop/rock participant male 34…………………………….……………………….… 36 3.10 Non-singer participant female 23………….……….……………………………… 38 3.11 Non-singer participant male 26……………….…………………………………… 39 3.12 Non-singer participant female 34……………..…………………………………… 40 vii LIST OF TABLES & GRAPHS Table/Graphs Page 3.1 Praat vocal parameter averages……………………………………...………...……. 43 3.2 Classical/opera participant spectrographs……………...…………………………… 44 3.3 Musical theatre participant spectrographs………………….………..…………...… 45 3.4 Pop/rock participant spectrographs……………………………………….………… 47 3.5 Non-singer participant spectrographs………………………………....…….……… 48 viii NOMENCLATURE VF - vocal folds F0- fundamental frequency MPT- maximum phonation time Phonotrauma- excessive vocal abuse/misuse GERD- gastroesophageal reflux disease ix CHAPTER I INTRODUCTION Professional singers tend to be more prone to vocal injury or vocal fold (VF) pathology due to the demands of performance schedules. These demands include, but are not limited to: maximal endurance, increased stamina, wide frequency range, and projection of the voice. The aim of this study is to investigate the nature of vocal fold closure among professional singers of different genres and non-singers. Physiology of Voice production The human vocal folds are located within the larynx (Figure 1.1) which is anatomically positioned at the levels of the cervical vertebrae 3 through 6 (C3 – C6) in adults. To produce phonation, the airstream passes between the two vocal folds that have come together. These folds are set into a vibratory pattern by the passing airstream (Figure 1.2). They vibrate at a speed ranging from approximately 100 to over 1000 times per second, Hertz depending on their length and thickness. 1 (From The Professional Voice Resource Guide: vocal nodules/nodes.) Figure 1.1 Laryngeal anatomy (aerial view) (From Hirano, M. & Bless, D., (1993) Videostroboscopic examination of the larynx.) Figure 1.2 Vocal folds set in motion by air stream from the lungs in aerial/front views 2 Parameters of the vocal folds viewed with stroboscopic examination The parameters the investigator evaluated with stroboscopy were the vocal fold margins and symmetry, mucosal wave, vocal fold closure pattern, amplitude and phase, periodicity or aperiodicity of the vocal fold vibrations, and the presence or lack of supraglottic hyperfunction seen with abnormal arytenoid and ventricular fold movement. These parameters
Load more

Recommended publications
  • Falsetto Head Voice Tips to Develop Head Voice
    Volume 1 Issue 27 September 04, 2012 Mike Blackwood, Bill Wiard, Editors CALENDAR Current Songs (Not necessarily “new”) Goodnight Sweetheart, Goodnight Spiritual Medley Home on the Range You Raise Me Up Just in Time Question: What’s the difference between head voice and falsetto? (Contunued) Answer: Falsetto Notice the word "falsetto" contains the word "false!" That's exactly what it is - a false impression of the female voice. This occurs when a man who is naturally a baritone or bass attempts to imitate a female's voice. The sound is usually higher pitched than the singer's normal singing voice. The falsetto tone produced has a head voice type quality, but is not head voice. Falsetto is the lightest form of vocal production that the human voice can make. It has limited strength, tones, and dynamics. Oftentimes when singing falsetto, your voice may break, jump, or have an airy sound because the vocal cords are not completely closed. Head Voice Head voice is singing in which the upper range of the voice is used. It's a natural high pitch that flows evenly and completely. It's called head voice or "head register" because the singer actually feels the vibrations of the sung notes in their head. When singing in head voice, the vocal cords are closed and the voice tone is pure. The singer is able to choose any dynamic level he wants while singing. Unlike falsetto, head voice gives a connected sound and creates a smoother harmony. Tips to Develop Head Voice If you want to have a smooth tone and develop a head voice singing talent, you can practice closing the gap with breathing techniques on every note.
    [Show full text]
  • Voice Types in Opera
    Voice Types in Opera In many of Central City Opera’s educational programs, we spend some time explaining the different voice types – and therefore character types – in opera. Usually in opera, a voice type (soprano, mezzo soprano, tenor, baritone, or bass) has as much to do with the SOUND as with the CHARACTER that the singer portrays. Composers will assign different voice types to characters so that there is a wide variety of vocal colors onstage to give the audience more information about the characters in the story. SOPRANO: “Sopranos get to be the heroine or the princess or the opera star.” – Eureka Street* “Sopranos always get to play the smart, sophisticated, sweet and supreme characters!” – The Great Opera Mix-up* A soprano is a woman’s voice type. There are many different kinds of sopranos within the general category: coloratura, lyric, and spinto are a few. Coloratura soprano: Diana Damrau as The Queen of the Night in The Magic Flute (Mozart): https://youtu.be/dpVV9jShEzU Lyric soprano: Mirella Freni as Mimi in La bohème (Puccini): https://youtu.be/yTagFD_pkNo Spinto soprano: Leontyne Price as Aida in Aida (Verdi): https://youtu.be/IaV6sqFUTQ4?t=1m10s MEZZO SOPRANO: “There are also mezzos with a lower, more exciting woman’s voice…We get to be magical or mythical characters and sometimes… we get to be boys.” – Eureka Street “Mezzos play magnificent, magical, mysterious, and miffed characters.” – The Great Opera Mix-up A mezzo soprano is a woman’s voice type. Just like with sopranos, there are different kinds of mezzo sopranos: coloratura, lyric, and dramatic.
    [Show full text]
  • Categorization of Vocal Fry in Running Speech
    Bowling Green State University ScholarWorks@BGSU Honors Projects Honors College Fall 12-2019 Categorization of Vocal Fry in Running Speech Katherine Proctor [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/honorsprojects Part of the Laboratory and Basic Science Research Commons Repository Citation Proctor, Katherine, "Categorization of Vocal Fry in Running Speech" (2019). Honors Projects. 549. https://scholarworks.bgsu.edu/honorsprojects/549 This work is brought to you for free and open access by the Honors College at ScholarWorks@BGSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@BGSU. CATEGORIZATION OF VOCAL FRY IN RUNNING SPEECH CATEGORIZATION OF VOCAL FRY IN RUNNING SPEECH KATHERINE PROCTOR HONORS PROJECT Submitted to the Honors College at Bowling Green State University in partial fulfillment of the requirements for graduation with UNIVERSITY HONORS 12/9/19 Dr. Ronald Scherer, Communication Sciences and Disorders, College of Health and Human Services, Advisor Dr. Katherine Meizel, Musicology/Ethnomusicology, College of Musical Arts, Advisor 1 CATEGORIZATION OF VOCAL FRY IN RUNNING SPEECH INTRODUCTION The concept of a vocal register has been defined by Hollien (1974) as “a series or range of consecutive frequencies that can be produced with nearly identical voice quality.” There are three different vocal registers in speech production according to Hollien (1974). These registers are: loft, which is the highest of the three, and could be described perceptually as the “falsetto” range; modal, which is the middle range and is evident in “normal” speech production; and pulse, the lowest range of phonation that is characterized by popping, pulsing sounds.
    [Show full text]
  • A Countertenor's Reference Guide to Operatic Repertoire
    A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources.
    [Show full text]
  • Universiv Micrmlms Internationcil
    INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microHlming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify m " '<ings or notations which may appear on this reproduction. 1. The sign or “ target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyriglited materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper le ft hand comer o f a large sheet and to continue from left to right in equal sections w ith small overlaps. I f necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]
  • Vocal Tract Dimensions and Vocal Fold Vibratory Characteristics Title of Professional Singers of Different Singing Voice Types
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by HKU Scholars Hub Vocal tract dimensions and vocal fold vibratory characteristics Title of professional singers of different singing voice types Author(s) Chan, Ka-u; 陳加裕 Chan, K. [陳加裕]. (2012). Vocal tract dimensions and vocal fold vibratory characteristics of professional singers of different Citation singing voice types. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Issued Date 2012 URL http://hdl.handle.net/10722/237890 This work is licensed under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License.; The Rights author retains all proprietary rights, (such as patent rights) and the right to use in future works. Running head: VOCAL TRACT AND VOICE SOURCE CHARACTERISTICS 1 Vocal tract dimensions and vocal fold vibratory characteristics of professional singers of different singing voice types Chan, Ka U Edith 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, 2012. VOCAL TRACT AND VOICE SOURCE CHARACTERISTICS 2 Abstract This study aimed to examine the relationship between different singing voice types and their vocal fold vibratory characteristics and vocal tract dimensions. A total of 19 tenors, 10 baritones, 29 sopranos, and 4 mezzo-sopranos participated in the study. Electroglottography (EGG) was used to measure the vocal fold vibratory characteristics, based on which parameters including open quotient (Oq) and fundamental frequency (F0) were derived. During the experiment, the participants sang the song “Happy Birthday” with constant loudness level and at the most comfortable pitch level.
    [Show full text]
  • Physical Modeling of the Singing Voice
    Malte Kob Physical Modeling of the Singing Voice 6000 5000 4000 3000 Frequency [Hz] 2000 1000 0 0 0.5 1 1.5 Time [s] logoV PHYSICAL MODELING OF THE SINGING VOICE Von der FakulÄat furÄ Elektrotechnik und Informationstechnik der Rheinisch-WestfÄalischen Technischen Hochschule Aachen zur Erlangung des akademischen Grades eines DOKTORS DER INGENIEURWISSENSCHAFTEN genehmigte Dissertation vorgelegt von Diplom-Ingenieur Malte Kob aus Hamburg Berichter: UniversitÄatsprofessor Dr. rer. nat. Michael VorlÄander UniversitÄatsprofessor Dr.-Ing. Peter Vary Professor Dr.-Ing. JuÄrgen Meyer Tag der muÄndlichen PruÄfung: 18. Juni 2002 Diese Dissertation ist auf den Internetseiten der Hochschulbibliothek online verfuÄgbar. Die Deutsche Bibliothek – CIP-Einheitsaufnahme Kob, Malte: Physical modeling of the singing voice / vorgelegt von Malte Kob. - Berlin : Logos-Verl., 2002 Zugl.: Aachen, Techn. Hochsch., Diss., 2002 ISBN 3-89722-997-8 c Copyright Logos Verlag Berlin 2002 Alle Rechte vorbehalten. ISBN 3-89722-997-8 Logos Verlag Berlin Comeniushof, Gubener Str. 47, 10243 Berlin Tel.: +49 030 42 85 10 90 Fax: +49 030 42 85 10 92 INTERNET: http://www.logos-verlag.de ii Meinen Eltern. iii Contents Abstract { Zusammenfassung vii Introduction 1 1 The singer 3 1.1 Voice signal . 4 1.1.1 Harmonic structure . 5 1.1.2 Pitch and amplitude . 6 1.1.3 Harmonics and noise . 7 1.1.4 Choir sound . 8 1.2 Singing styles . 9 1.2.1 Registers . 9 1.2.2 Overtone singing . 10 1.3 Discussion . 11 2 Vocal folds 13 2.1 Biomechanics . 13 2.2 Vocal fold models . 16 2.2.1 Two-mass models . 17 2.2.2 Other models .
    [Show full text]
  • Voice Types Are Soprano, Mezzo Soprano, Tenor and Baritone
    The four most common voice types are Soprano, Mezzo Soprano, Tenor and Baritone. FEMALE VOCAL RANGE RANGE FEMALE EXAMPLES Highest Soprano Coloratura Soprano Lucia in Lucia di Lammermoor Lyric Soprano Violetta in La Traviata Dramatic Soprano Leonara in Il Trovatore Mezzo Soprano Coloratura Mezzo Rosina in The Barber of Seville Dramatic Mezzo Carmen in Carmen Lowest Contralto Katisha in The Mikado VOICE SOPRANO The highest of the female voice types, the soprano has always had a TYPES place of importance in the order of vocal types. In the operatic world, the soprano is almost always the ‘heroine’ or leading character within an opera. MEZZO SOPRANO The mezzo is the lower-ranged female voice type. Throughout opera history the mezzo has been used to convey many different types of characters: everything from boys or young men (these are called trouser or pants roles), to mother-types, witches, gypsies and old women. The four most common voice types are Soprano, Mezzo Soprano, Tenor and Baritone. MALE VOCAL RANGE RANGE MALE EXAMPLES Highest Tenor Light Lyric Tenor Nemorino in La Cenerentola Lyric Tenor Nadir in the Pearlfishers Lyric-dramatic Tenor Rodolfo in La Boheme Dramatic Tenor Canio in Pagliacci Heldentenor Tristan in Tristan und Isolde Baritone Papageno in The Magic Flute Bass-baritone Figaro in The Magic of Figaro VOICE Lowest Bass Sarastro in The Magic Flute TENOR The Tenor is the highest of the male voices and has many sub categories TYPES such as a lyric tenor and a dramatic tenor. The tenor is usually cast in the romantic roles of opera.
    [Show full text]
  • Voice Dysphoria and the Transgender and Genderqueer Singer
    What the Fach? Voice Dysphoria and the Transgender and Genderqueer Singer Loraine Sims, DMA, Associate Professor, Edith Killgore Kirkpatrick Professor of Voice, LSU 2018 NATS National Conference Las Vegas Introduction One size does not fit all! Trans Singers are individuals. There are several options for the singing voice. Trans woman (AMAB, MtF, M2F, or trans feminine) may prefer she/her/hers o May sing with baritone or tenor voice (with or without voice dysphoria) o May sing head voice and label as soprano or mezzo Trans man (AFAB, FtM, F2M, or trans masculine) may prefer he/him/his o No Testosterone – Probably sings mezzo soprano or soprano (with or without voice dysphoria) o After Testosterone – May sing tenor or baritone or countertenor Third Gender or Gender Fluid (Non-binary or Genderqueer) – prefers non-binary pronouns they/them/their or something else (You must ask!) o May sing with any voice type (with or without voice dysphoria) Creating a Gender Neutral Learning Environment Gender and sex are not synonymous terms. Cisgender means that your assigned sex at birth is in agreement with your internal feeling about your own gender. Transgender means that there is disagreement between the sex you were assigned at birth and your internal gender identity. There is also a difference between your gender identity and your gender expression. Many other terms fall under the trans umbrella: Non-binary, gender fluid, genderqueer, and agender, etc. Remember that pronouns matter. Never assume. The best way to know what pronouns someone prefers for themselves is to ask. In addition to she/her/hers and he/him/his, it is perfectly acceptable to use they/them/their for a single individual if that is what they prefer.
    [Show full text]
  • An Introduction to Jacques Leguerney's Settings of the Poetry of Pierre De Ronsard
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2001 An Introduction to Jacques Leguerney's Settings of the Poetry of Pierre De Ronsard. Carol Fuqua Lines Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Lines, Carol Fuqua, "An Introduction to Jacques Leguerney's Settings of the Poetry of Pierre De Ronsard." (2001). LSU Historical Dissertations and Theses. 418. https://digitalcommons.lsu.edu/gradschool_disstheses/418 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • The Baritone Voice in the Seventeenth and Eighteenth Centuries: a Brief Examination of Its Development and Its Use in Handel’S Messiah
    THE BARITONE VOICE IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES: A BRIEF EXAMINATION OF ITS DEVELOPMENT AND ITS USE IN HANDEL’S MESSIAH BY JOSHUA MARKLEY Submitted to the graduate degree program in The School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Dr. John Stephens ________________________________ Dr. Michelle Hayes ________________________________ Dr. Paul Laird ________________________________ Dr. Julia Broxholm ________________________________ Mr. Mark Ferrell Date Defended: 06/08/2016 The Dissertation Committee for JOSHUA MARKLEY certifies that this is the approved version of the following dissertation: THE BARITONE VOICE IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES: A BRIEF EXAMINATION OF ITS DEVELOPMENT AND ITS USE IN HANDEL’S MESSIAH ________________________________ Chairperson Dr. John Stephens Date approved: 06/08/2016 ii Abstract Musicians who want to perform Handel’s oratorios in the twenty-first century are faced with several choices. One such choice is whether or not to use the baritone voice, and in what way is best to use him. In order to best answer that question, this study first examines the history of the baritone voice type, the historical context of Handel’s life and compositional style, and performing practices from the baroque era. It then applies that information to a case study of a representative sample of Handel’s solo oratorio literature. Using selections from Messiah this study charts the advantages and disadvantages of having a baritone sing the solo parts of Messiah rather than the voice part listed, i.e. tenor or bass, in both a modern performance and an historically-informed performance in an attempt to determine whether a baritone should sing the tenor roles or bass roles and in what context.
    [Show full text]
  • 'The Performing Pitch of William Byrd's Latin Liturgical Polyphony: a Guide
    The Performing Pitch of William Byrd’s Latin Liturgical Polyphony: A Guide for Historically Minded Interpreters Andrew Johnstone REA: A Journal of Religion, Education and the Arts, Issue 10, 'Sacred Music', 2016 The choosing of a suitable performing pitch is a task that faces all interpreters of sixteenth- century vocal polyphony. As any choral director with the relevant experience will know, decisions about pitch are inseparable from decisions about programming, since some degree of transposition—be it effected on the printed page or by the mental agility of the singers—is almost invariably required to bring the conventions of Renaissance vocal scoring into alignment with the parameters of the more modern SATB ensemble. To be sure, the problem will always admit the purely pragmatic solution of adopting the pitch that best suits the available voices. Such a solution cannot of itself be to the detriment of a compelling, musicianly interpretation, and precedent for it may be cited in historic accounts of choosing a pitch according to the capabilities of the available bass voices (Ganassi 1542, chapter 11) and transposing polyphony so as to align the tenor part with the octave in which chorale melodies were customarily sung (Burmeister 1606, chapter 8). At the same time, transpositions oriented to the comfort zone of present-day choirs will almost certainly result in sonorities differing appreciably from those the composer had in mind. It is therefore to those interested in this aspect of the composer’s intentions, as well as to those curious about the why and the wherefore of Renaissance notation, that the following observations are offered.
    [Show full text]