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OSU Template Perfecting Your Practice: Rehearsal Techniques and Strategies for the Undergraduate 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 Jennifer Maxwell Whitehead, B.M., M.M. Graduate Program in Music The Ohio State University 2013 D.M.A. Document Committee: Robin Rice, Advisor Michael David Trudeau Marshall R. Haddock Copyright by Jennifer Maxwell Whitehead 2013 Abstract Each year, young singers enter colleges and universities with the intent of pursuing degrees in vocal performance, many of whom soon find themselves frustrated and discouraged, as well as at odds with their voice teachers over their failure to practice in such a way as to foster steady progress leading to excellence in their singing. While many of these students possess the innate talent and intellect they need to successfully complete these degree programs, most need help learning how to effectively practice so as to make the most of these gifts, because without effective practice, they will not realize their full potential. Perfecting Your Practice seeks to provide undergraduate singers with a body of knowledge about how to approach practicing, create a successful practice environment, wisely budget their practice time, negotiate various challenges in repertoire and vocal health, and prepare for recitals and roles. While specifically written with the needs and challenges of the undergraduate classical singer in mind, this document may serve as a guide for any singer, at any stage of development, amateur or professional, who wishes to improve the efficiency and effectiveness of their practice routine. It may serve as a studio manual which teachers can give to their students as supplemental information to their own advice or serve as a text for an undergraduate seminar on navigating a degree in vocal performance. ii This document is dedicated to my husband, Dan Whitehead. iii Acknowledgments Robin Rice, Advisor – Marshall R. Haddock, committee – Michael Trudeau, committee – Jere Forsythe, committee – L.Arick Forrest, M.D. – Kerrie Obert, CCC-SLP – Karen Peeler – Eileen Davis – Carolyn Redman – Nikki Sipe – Ed Bak – Erica Colopy – Natalee McReynolds – Aaron Ramey – Kimberlee Goodman – Suzanne Newcomb – Laura Portune – Daniel Whitehead iv Vita 1968................................................................Born, Columbus, Ohio 1990................................................................B.M., Voice, cum laude, Bob Jones University, Greenville, SC 1991-1992 ......................................................Graduate Teaching Associate, Department of Music, The Ohio State University, Columbus, OH 1992 ...............................................................M.M., Vocal Performance, The Ohio State University 1993-1994 ......................................................Adjunct Professor of Voice, Department of Music, Ashland University, Ashland, OH 1993-1996 ......................................................Adjunct Professor of Voice, Department of Music, Kenyon College, Gambier, OH 1994-2001 ......................................................Adjunct Professor of Voice, Department of Music, Otterbein University, Westerville, OH v 1999-2003 ......................................................Performer and Teacher, Opera/ Columbus Education and Outreach Program, Columbus, OH 2003................................................................Master Class, Opera Camp, Opera/ Columbus 2006-present ...................................................Adjunct Professor of Voice, Otterbein University, Westerville, OH 2008................................................................Vocal Instructor, Musical Theatre Intensive Camp, Phoenix Theatre Company, Columbus, OH 2008................................................................Vocal Clinician, Musicollege Conference, Philadelphia, PA, and Chicago, IL 2009................................................................Vocal Clinician, Musicollege Conference, Philadelphia, PA, and South Bend, IN 2008-2009 ......................................................Outreach Committee Member, Opera / Columbus 2010-2012 ......................................................Graduate Teaching Associate, The Ohio State University 2011................................................................Adjudicator, Opera/ Columbus International Vocal Competition 2011................................................................Singing Health Specialist Certification, The Ohio State University vi 2011................................................................Singing Health Lecture, Otterbein University 2011................................................................Recital and Master Class, North Greenville University, Greenville, SC 2012................................................................Practicing Lecture, Otterbein University vii Fields of Study Major Field: Music Studies in Applied Voice: Robin Rice, D.M.A. (2009-2012) Singing Health Specialization: L. Arick Forrest, M.D., Kerrie Obert, M.A., CCC-SLP, Karen Peeler, D.M.A., Michael Trudeau, Ph.D., CCC-SLP (2010-2011) viii Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iii Acknowledgments .............................................................................................................. iv Vita .......................................................................................................................................v Chapter 1: First Things First ................................................................................................1 The Case For Practicing ..................................................................................................1 Psychological Underpinnings .........................................................................................2 Learning Styles ...............................................................................................................4 Multiple Intelligences .....................................................................................................6 Mind Styles .....................................................................................................................6 Implications .....................................................................................................................9 Chapter 2: Basics of Practicing .........................................................................................11 How Often Should I Practice ........................................................................................11 Where Should I Practice ...............................................................................................13 What Tools Do I Need For Effective Practice ..............................................................15 When Should I Practice ................................................................................................20 How Long Should My Practice Sessions Be ................................................................22 How Do I Divide My Practice Time .............................................................................23 ix Chapter 3: Building Technique Through Practice .............................................................30 Your Teacher’s Role .....................................................................................................30 A Correct View Of Vocalizing .....................................................................................31 Applying Vocalises To Repertoire ................................................................................37 Applying Repertoire To Repertoire ..............................................................................38 Chapter 4: Mastering Repertoire In Foreign Languages ....................................................40 Listen .............................................................................................................................41 Visualize .......................................................................................................................44 Speak .............................................................................................................................46 Sing ...............................................................................................................................48 Borrow ..........................................................................................................................50 Chapter 5: Practicing Repertoire With Challenging Tonalities And Rhythms ..................51 Recognize The Challenge .............................................................................................51 Maximize Resources .....................................................................................................52 Quality And Quantity ....................................................................................................56 The Role Of Trust .........................................................................................................59 Chapter 6: Practicing During Illness ..................................................................................61 Should I Sing? .............................................................................................................
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