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Treble Voices in Choral Music
loft is shown by the absence of the con• gregation: Bach and Maria Barbara were Treble Voices In Choral Music: only practicing and church was not even in session! WOMEN, MEN, BOYS, OR CASTRATI? There were certain places where wo• men were allowed to perform reltgious TIMOTHY MOUNT in a "Gloria" and "Credo" by Guillaume music: these were the convents, cloisters, Legrant in 1426. Giant choir books, large and religious schools for girls. Nuns were 2147 South Mallul, #5 enough for an entire chorus to see, were permitted to sing choral music (obvious• Anaheim, California 92802 first made in Italy in the middle and the ly, for high voices only) among them• second half of the 15th century. In selves and even for invited audiences. England, choral music began about 1430 This practice was established in the with the English polyphonic carol. Middle Ages when the music was limited Born in Princeton, New Jersey, Timo• to plainsong. Later, however, polyphonic thy Mount recently received his MA in Polyphonic choral music took its works were also performed. __ On his musi• choral conducting at California State cue from and developed out of the cal tour of Italy in 1770 Burney describes University, Fullerton, where he was a stu• Gregorian unison chorus; this ex• several conservatorios or music schools dent of Howard Swan. Undergraduate plains why the first choral music in Venice for girls. These schools must work was at the University of Michigan. occurs in the church and why secular not be confused with the vocational con• compositions are slow in taking up He has sung professionally with the opera servatories of today. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
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. -
Why Do Singers Sing in the Way They
Why do singers sing in the way they do? Why, for example, is western classical singing so different from pop singing? How is it that Freddie Mercury and Montserrat Caballe could sing together? These are the kinds of questions which John Potter, a singer of international repute and himself the master of many styles, poses in this fascinating book, which is effectively a history of singing style. He finds the reasons to be primarily ideological rather than specifically musical. His book identifies particular historical 'moments of change' in singing technique and style, and relates these to a three-stage theory of style based on the relationship of singing to text. There is a substantial section on meaning in singing, and a discussion of how the transmission of meaning is enabled or inhibited by different varieties of style or technique. VOCAL AUTHORITY VOCAL AUTHORITY Singing style and ideology JOHN POTTER CAMBRIDGE UNIVERSITY PRESS PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge CB2 IRP, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, United Kingdom 40 West 20th Street, New York, NY 10011-4211, USA 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1998 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1998 Typeset in Baskerville 11 /12^ pt [ c E] A catalogue record for this book is available from the British Library library of Congress cataloguing in publication data Potter, John, tenor. -
Investigating the Efficacy of Vocal Function Exercises in Improving Vocal Function in Adults Irradiated for Laryngeal Cancers: a Three Part Dissertation
University of Kentucky UKnowledge Theses and Dissertations--Rehabilitation Sciences Rehabilitation Sciences 2016 INVESTIGATING THE EFFICACY OF VOCAL FUNCTION EXERCISES IN IMPROVING VOCAL FUNCTION IN ADULTS IRRADIATED FOR LARYNGEAL CANCERS: A THREE PART DISSERTATION Vrushali Angadi University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.349 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Angadi, Vrushali, "INVESTIGATING THE EFFICACY OF VOCAL FUNCTION EXERCISES IN IMPROVING VOCAL FUNCTION IN ADULTS IRRADIATED FOR LARYNGEAL CANCERS: A THREE PART DISSERTATION" (2016). Theses and Dissertations--Rehabilitation Sciences. 33. https://uknowledge.uky.edu/rehabsci_etds/33 This Doctoral Dissertation is brought to you for free and open access by the Rehabilitation Sciences at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Rehabilitation Sciences by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
Voice and Communication Change for Gender Nonconforming Individuals: Giving Voice to the Person Inside
International Journal of Transgenderism ISSN: 1553-2739 (Print) 1434-4599 (Online) Journal homepage: http://www.tandfonline.com/loi/wijt20 Voice and Communication Change for Gender Nonconforming Individuals: Giving Voice to the Person Inside Shelagh Davies, Viktória G. Papp & Christella Antoni To cite this article: Shelagh Davies, Viktória G. Papp & Christella Antoni (2015) Voice and Communication Change for Gender Nonconforming Individuals: Giving Voice to the Person Inside, International Journal of Transgenderism, 16:3, 117-159, DOI: 10.1080/15532739.2015.1075931 To link to this article: https://doi.org/10.1080/15532739.2015.1075931 Published online: 16 Nov 2015. Submit your article to this journal Article views: 9294 View related articles View Crossmark data Citing articles: 13 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=wijt20 Download by: [73.111.253.98] Date: 10 January 2018, At: 14:10 International Journal of Transgenderism, 16:117–159, 2015 Copyright Ó Taylor and Francis Group, LLC ISSN: 1553-2739 print / 1434-4599 online DOI: 10.1080/15532739.2015.1075931 Voice and Communication Change for Gender Nonconforming Individuals: Giving Voice to the Person Inside Shelagh Davies Viktoria G. Papp Christella Antoni ABSTRACT. In the seventh version of their Standards of Care, WPATH recognizes that, as each person is unique, so is the person’s gender identity. The goal of speech-language therapists/ pathologists is to help transgender people develop voice and communication that reflects their unique sense of gender. When outer expression is congruent with an inner sense of self, transgender people may find increased comfort, confidence, and improved function in everyday life. -
The Singing Voice Specialist: an Essential Bridge Between Two Worlds
University of South Carolina Scholar Commons Theses and Dissertations Summer 2020 The Singing Voice Specialist: An Essential Bridge Between Two Worlds Rebecca Holbrook Loar Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Loar, R. H.(2020). The Singing Voice Specialist: An Essential Bridge Between Two Worlds. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/6056 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. THE SINGING VOICE SPECIALIST: AN ESSENTIAL BRIDGE BETWEEN TWO WORLDS by Rebecca Holbrook Loar Bachelor of Music Samford University, 1994 Master of Music Manhattan School of Music, 1998 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctorate of Musical Arts in Music Performance School of Music University of South Carolina 2020 Accepted by: Tina Stallard, Major Professor Serena Hill-LaRoche, Committee Member Jacob Will, Committee Member Lucinda Halstead, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Rebecca Holbrook Loar, 2020 All Rights Reserved. ii DEDICATION To my amazing family - my loving husband Victor, inquisitive son Nathaniel, and beautiful daughter Charlotte. Thank you for your sacrifice of late nights, dirty dishes, and lots of laundry during this process, especially during a global pandemic. To my parents for their endless support and encouragement. To my mother, the journalist, for acting as editor-in-chief on this project. To my sister for too many ‘pick me up’ phone calls to document. -
Informant, Vol. 2, Issue 2 Kristen Sullivan, Editor Paul Patinka, Assistant Editor
InFormant, Vol. 2, Issue 2 Kristen Sullivan, Editor Paul Patinka, Assistant Editor Dear fellow PAVA members, Each year we celebrate World Voice Day (http://world-voice-day.org/) as a way to share our excitement about the voice with each other and the public. The theme of this year's World Voice Day is "One World, Many Voices," which reminds me both of the many different voices that make up our own PAVA community, as well as the value of continually seeking out voices different than our own. In this spirit, this World Voice Day I encourage you to not only reach out and share a link to an event, or a voice science video, or a favorite vocal performance, but also be a good listener to the voices around you. After all, what is the point of having a voice if we are not heard? Our young organization continues to rapidly grow, but we will only do so successfully if we build upon the strong foundation built by our founding members and continue to engage with each other and listen to each others’ voices. I will follow my own advice and hope to hear your voice this World Voice Day. Please contact me at [email protected] with any thoughts, concerns, or ideas you have about PAVA. I would love to hear your voice. Happy World Voice Day! ----------------------------------------------------- Aaron M Johnson, MM, PhD, CCC-SLP President Pan American Vocology Association https://pavavocology.org Science and Research Rachel Hirshorn-Johnston Associate Professor of Voice & Speech Texas Tech University Associate Teacher of Fitzmaurice Voicework® Actor and Dialect Coach Creative research in the field of acting and voice coaching is colorful and wide-ranging. -
On Vibration Properties of Human Vocal Folds Svec, Jan
University of Groningen On vibration properties of human vocal folds Svec, Jan IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2000 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Svec, J. (2000). On vibration properties of human vocal folds: voice registers, bifurcations, resonance characteristics, development and application of videokymography. s.n. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license. More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne- amendment. Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 09-10-2021 On Vibration Properties of Human Vocal Folds Voice Registers, Bifurcations, Resonance Characteristics Development and Application of Videokymography Jan G. -
Viola Da Gamba Society: Write-Up of Talk Given at St Gabriel's Hall
Viola da Gamba Society: write-up of talk given at St Gabriel’s Hall, Pimlico, 27 January 2019 John Bryan: The highs and lows of English consort music: investigating compass, range and register as a guide to instrumental character The ideas and research presented here were central to a chapter in Early English Viols: Instruments, Makers and Music, jointly written with Michael Fleming (Routledge, 2017) so this article should be viewed as an introduction and summary of some of the more detailed evidence available there. My premise is that one way of trying to understand what English viols might have been like in the Tudor and Stuart periods is to investigate the ranges of the pieces they played. On the whole, composers tend to know their instruments and write what is effective for them. So Haydn writes differently for the piano when he’s heard instruments made in London in the 1790s, exploiting their sonorous bass register in comparison with the more lightly strung instruments he had known in Vienna. Some composers’ use of range challenges norms: Beethoven’s addition of piccolo and contrabassoon to the woodwind in the finale of his Symphony 5 (1808) revolutionised the sound of the orchestra by adding an extra octave at either end of the section. Analysing the ranges used in English viol consort music might therefore provide insights into the sonorities and functions of the instruments of the period. First some definitions, as used here: Compass: the distance between the lowest bass note and the highest treble note in a composition. John Dowland, in his translation of Ornithoparcus’ Micrologus (London, 1609) writes: ‘The Compasse is nothing else, but a circuite or space allowed by the authoritie of the Musicians to the Tones for their rising and falling.’ Range: the distance between the lowest and highest note of a single part or voice within a polyphonic composition. -
Trends of Vocal Warm-Ups and Vocal Health from the Perspective of Singing and Medical Professionals
Copyright By Janeal Marie Sugars 2009 The Treatise Committee for Janeal Marie Sugars Certifies that this is the approved version of the following treatise: Trends of Vocal Warm-ups and Vocal Health From the Perspective of Singing and Medical Professionals Committee: ___________________________________ Darlene Wiley, Co-Supervisor _______________________________ Robert Freeman, Co-Supervisor _______________________________ Donald Grantham _______________________________ Leonard Johnson _______________________________ Michael Tusa _______________________________ Courtney Byrd Trends of Vocal Warm-ups and Vocal Health From the Perspective of Singing and Medical Professionals by Janeal Marie Sugars, B.M.; M. M. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin August 2009 ACKNOWLEDGMENTS I wish to express my deepest thanks to all who helped me: Professor Darlene Wiley for working with me, believing in me, and allowing me the opportunity to fly through the myriad of mazes in reaching the goal; Dr. Robert Freeman, who proofread the manuscript and offered wonderful pearls of wisdom throughout the process; Dr. Donald Grantham, for being there many years ago and instilling an admiration for composers and collegiality; Professor Leonard Johnson, for permitting the observation of many vocal lessons; Dr. Michael Tusa, for bridging the gaps; and Dr. Courtney Byrd, for her faith in me to complete the work ahead. My sincerest gratitude and heartfelt appreciation goes to Dr. Andrew Dell’Antonio, for his care and guidance in making Bel Canto History more than a delightful delectable Italian phrase. Lisa, you have been a great cheerleader and coach and the only way I can say thank you is to let you know, “Here comes Cindy.” Many thank you’s to all the proof readers, especially to Holly. -
“Voice and Articulation”. in Section 1 of This Course You Will Cover These
1 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in “Voice and Articulation”. In Section 1 of this course you will cover these topics: An Introduction Mechanisms For Speech Topic : An Introduction Topic Objective: At the end of this topic student would be able to: Understand and give an Overview of Voice and Speech Discuss the Types of communication Understand the Influences of Voice and Speech Discuss the Voice Modulation in Spoken Language Discuss on how to Improve the Voice Definition/Overview: The topic discusses that Communication is commonly defined as "the imparting or interchange of thoughts, opinions, or information by speech, writing, or signs...", , 1: an act or instance of transmitting and 3 a: "a process by which information is exchanged between individuals through a common system of symbols, signs, or behavior ... also: exchange of information". Communication can be perceived as a two-way process in which there is an exchange and progression of thoughts, feelings or ideas towards a mutually accepted[clarification needed] goal or direction. Communication as an academic discipline relates to all the ways we communicate, so it embraces a large body of study and knowledge. Key Points: 1. Overview Communication is a process whereby information is encoded and imparted by a sender to a receiver via a channel/medium. The receiver then decodes the message and gives the sender a feedback. Communication requires that all parties have an area of communicative www.bsscommunitycollege.in www.bssnewgeneration.in www.bsslifeskillscollege.in 2 www.onlineeducation.bharatsevaksamaj.net www.bssskillmission.in commonality. There are auditory means, such as speaking, singing and sometimes tone of voice, and nonverbal, physical means, such as body language, sign language, paralanguage, touch, eye contact, by using writing.