DOCSLIB.ORG

Come Together

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Come Together THE WORLD’S COME TOP VOCAL TECHNIQUES TOGETHER 14/17 OCTOBER ONLINE EDITION GREG ENRIQUEZ USA - CHRIS JOHNSON UK - MINDY PACK USA - ANDRES MARTORELL URUGUAY/ IRELAND BARBARA TANZE SLOVENIA - MONIQUE THOMAS FRANCE/ USA - LISE LIV SKOVGAARD DENMARK WENDY PARR USA - RACHEL BLACK UK - MAGDA NAVARRETE POLAND - IAN DAVIDSON UK - STEPHEN KING UK LIVE THE EXPERIENCE ONLINE A DOZEN MASTER TEACHERS FROM DIFFERENT INSTITUTES / SCHOOLS / METHODS PRESENTING AT THE LARGEST WORLD VOICE EXPO: • 16 daily group practical Masterclasses designed for Voice Teachers / Coaches • Access to observe Master Teacher lessons • Private Sessions with specialists of different methods • The entire program is available online and can take part wherever you are • This unique international project gives voiceteachers from different backgrounds the chance to learn from the world's top teacher training specialists, and to connect with many teachers from around the globe. •The project unites the best of each technique and treats HUMAN VOICE as an unlimited instrument which could benefit in a variety of ways from different approaches. The team behind World Voice Teachers Expo believes that the world’s top voice techniques complement each other, and that there is much that we can learn from one another. You will be introduced to many methods and learn about several options you have to continue your studies as a Vocal Coach. At the completion of the course, teachers will receive a Certificate of Attendance. PROGRAM: DAY 1 / WEDNESDAY 14th OCTOBER 17:00 - 21:00 Group Welcome and Master Teachers Introduction 14/17 OCTOBER ONLINE EDITION THEVOICEEXPO.COM ONLINE EDITION SCHEDULE DAYS 2 & 3 & 4 / THURSDAY, FRIDAY & SATURDAY ROOM 1 ROOM 2 ROOM 3 9:00 - 14:00 Private Lessons & Observation Private Lessons & Observation Private Lessons & Observation Barbara Tanze Chris Johnson Ulrik Elholm 14:00 - 15.00 BREAK Movement Teaching CVT Customize your studio for 15:15 The unstable way to stability support and effects the diverse clientele Chris Johnson Ulrik Elholm Mindy Pack Common Sense Singing Back to your roots. Tapping into The WHY behind the straw 16:15 Relationship of tasks and skill Mindy Pack inner freedom & artistic creativity Greg Enriquez Wendy Parr Common Sense Singing - Making Tongue and Jaw Pressure management- 17:15 a difference in 3600 seconds Partners in Crime? practical tools for efficient airflow Greg Enriquez Chris Johnson Barbara Tanze Beyond the notes - Tapping into Inner How to prevent burn out and Breathing physiology- CO2 tolerance 18:15 Freedom & Artistic Creativity tools to assist nervous singers and nasal breathing for singers Wendy parr Ulrik Elholm Barbara Tanze Spectrum of Methods Teaching Choirs Understanding Acid Reflux 19:15 Monique Thomas & Ian Davidson Stephen King and Terminology Rachel Black ROOM 4 ROOM 5 ROOM 6 Private Lessons & Observation Private Lessons & Observation Private Lessons & Observation 20.30 - 00:30 Wendy Parr Greg Enriquez Mindy Pack THEVOICEEXPO.COM BOOKING AND FEE FULL WEBINARS ACCESS TO ALL ACCESS TO PRIVATE + TEACHING TEACHING ACCESS OBSERVATION WEBINARS OBSERVATION GENERAL: MVT TEACHERS: ONLY ONLY 375€ 350€ 275€ 150€ WEBINARS Every day of the conference, there will be 15 different webinars (workshops) to choose from. The project unites the best of each technique and treats HUMAN VOICE as an unlimited instrument which could benefit in a variety of ways from different approaches. TEACHING OBSERVATION Every day of the conference, during 8 hours there will be 3 simultaneous rooms running private lessons. You will be able to observe different methods/techniques and teaching approaches in practice! TO REGISTER FOR THIS EVENT: 1- Write us an email to [email protected] 2- PAY THE FEE of the option you have chosen. Please see payment details below. BANK DETAILS: IF YOU HAVE ANY QUESTIONS Modern Vocal Training International AIB Ireland, DON’T HESITATE TO CONTACT US AT UPPER SALTHILL ROAD, GALWAY [email protected] BIC AIBKIE2D - Account Number 22509242 - Sort Code 937401- IBAN IE60AIBK93740122509242 14/17 OCTOBER ONLINE EDITION THEVOICEEXPO.COM GREG ENRIQUEZ USA Greg Enriquez is regarded by several Entertainment Professionals to be the most effective and commercial Vocal Technique Instructor in Las Vegas. He has conducted clinics and private instruction for L.I.P.A. (Paul McCartney),A.C.M. (London, England), the Queensland Conservatorium/Griffith University (Brisbane, Australia), Green Institute of Voice (Munich, Germany), National Academy of Recording Arts & Sciences, Inc. (National Grammy in the Schools Career Day) featuring Clint Black, Jimmy Jam, Monica, Phil Ramone, Robi Rosa, Jose Behar, Desmond Child, and many more. Personally selected and endorsed by Maestro Seth Riggs to be his Associate in 1991, Greg Enriquez is regarded by several Entertainment Professionals to be the most effective and commercial Vocal Technique Instructor in Las Vegas. He has successfully coached hundreds of singers, dancers, and actors in every aspect of musical performance. Though Enriquez maintains an active teaching schedule at his private studio in Las Vegas and at Maestro Riggs’ studio in Los Angeles, he travels throughout the world as a Guest Lecturer and Teacher in Vocal Therapy and Singing Technique. He has conducted clinics and private instruction for L.I.P.A. (Paul McCartney), A.C.M. (London, England), the Queensland Conservatorium/Griffith University (Brisbane, Australia), Green Institute of Voice (Munich, Germany), National Academy of Recording Arts & Sciences, Inc. (National Grammy in the Schools Career Day) featuring Clint Black, Jimmy Jam, Monica, Phil Ramone, Robi Rosa, Jose Behar, Desmond Child, and Deborah Cox, the Kennedy Center Alliance of Arts Education Network, and Ann Reinking’s Broadway Theatre Project with Gregory Hines, Tommy Tune, Joel Grey, Pat Birch, Marilu Henner, and Julian Stein. Greg has also extended his expertise to the SLS Summer Program alongside Ken Komisar (A & R, MJJ Records), Steve Baker (Disneyland Casting) Marylata Jacobs (Dreamworks Casting), James Ingram, Peter Gallagher, and Nancy Dussault, and the Donna Reed Foundation (Eddie Foy III, Shelley Fabares, Robert Hays, Howard Keel). In the field of Opera, his pupils have won scholarships to several institutions including The Boston Conservatory. His Musical Theatre students include the youngest singer to play Sandy in Grease on roadway (Lindsay Korman of NBC’s Passions). He was a special contracted Vocal Consultant for Solange Knowles (Columbia Records), the Tommy Hilfiger Britney Spears…Baby One More Time Tour, HardRock presents Hole Celebrity Skin Tour (Courtney Love), BLAQUE (Columbia), Creations du Dragon (Celine Dion), as well as for the multi-million dollar productions Mystère (Cirque du Soleil) at the Treasure Island, Starlite Express at the Las Vegas Hilton, Legends in Concert at the Imperial Palace, Zumanity (Cirque du Soleil) at the New York New York Hotel, Splash at the Riviera Hotel, Notre Dame de Paris at the Paris Resort, the Penn & Teller Show for FOX, the Havana Night Club, We Will Rock You at the Paris Resort, and LE RÊVE at the Wynn Resort. In the area of Popular Music, many of Greg’s students are currently working Production Deals with industry giants such as David Foster, Quincy Jones, Mike Post, Humberto Gatica, Mercury Records, EMILatin, and Sony-Japan. He also has assisted numerous physicians who specialize in organic and functional disorders of the voice in Vocal Therapy. Greg holds the highest level of certification (5) and is a founding member of the Instruction Management Team for Speech Level Singing International overseeing teacher certification. Greg far exceeds the required standard through continuous weekly one-to-one study with Maestro Riggs acquiring more than 600 hours of individual instruction and well over 7,000 hours of Master Class participations. 14/17 OCTOBER ONLINE EDITION THEVOICEEXPO.COM MINDY PACK USA Mindy has been performing since the age of eight. Her original goal in life was to be the world’s first “singing Heart Surgeon”. Unfortunately, medical school didn’t pan out; so, she decided to heal the world through music and as a result, she has been studying different vocal techniques, voice science, and vocal health her entire life. Mindy has studied with many nationally and internationally renowned vocal instructors and was a vocal performance major at the University of Utah. Mindy is part of some incredible voice teams and music industry professionals throughout the world. Some of these team’s consists of Laryngologists, ENT’s, Artist Development, Managers, Record Labels, Vocal Arrangers, Producers, Music Directors, and many others. Mindy holds a certificate in Clinical Vocology from The National Center for Voice and Speech. Mindy holds certificate in laryngeal manipulation. Mindy is the creator of one of the top Educational Apps called Voice Tutor. Mindy has a full studio in Salt Lake City, Utah and a satellite studio in Los Angeles, California. She also has clients around the world via online sessions. Her studio has a roster of clients from the novice to the professional, all genre's and styles, actors and voice over artists, the injured or rebab voice, transgender, motivational speakers, and any other voice user seeing out her help. Clients are in all genres and styles of the music. Clients such as Brandi Carlile, Justin Timberlake, The Lumineers, Emily Sailers of the Indigo Girls, Halsey, Austin Mahone, Common, Royal Bliss, Tesseract, and Pharrell Williams have seen the value of combining Mindy's technique and Vocal Tract Reconditioning for the longevity of touring. Other clients have been seen on world tours, national Broadway tours, AMA's, Grammy's, Saturday Night Live, International Award shows, You Tube Sensations, College Scholarship Winners, Reality TV Shows, Cruise Lines, and local and national performances to name a few.Mindy is currently the co-producer for the Vocal Master Class Series, A Conference for a Cause with Dr Reena Gupta and the Osborn Head and Neck Series which is a non-profit organization that provides ENT services to third world countries. For over 12 years Mindy has been in charge of education for an artist development camp in Los Angeles as well as International Teacher Training Programs.
Load more

Recommended publications
  • Vocal Education in Kazan: from Amateur Music Playing to Professional Training
    Propósitos y Representaciones Mar. 2021, Vol. 9, SPE(2), e1075 ISSN 2307-7999 Special Number: Professional competencies for international university education e-ISSN 2310-4635 http://dx.doi.org/10.20511/pyr2021.v9nSPE2.1075 RESEARCH NOTES Vocal Education in Kazan: From Amateur Music Playing to Professional Training Educación vocal en Kazán: de la reproducción de música amateur a la formación profesional Yulia Aleksandrovna Martynova Kazan Federal University, Russia ORCID ID: 0000-0002-4568-8254 Dmitry Yevgenyevich Martynov Kazan Federal University, Russia ORCID ID: 0000-0001-5385-1915 Alina Mikhailovna Sukhova Kazan Federal University, Russia ORCID ID: 0000-0003-1073-3884 Leila Aivazovna Nurgalieva Kazan Federal University, Russia ORCID ID: 0000-0002-0563-5772 Received 09-08-20 Revised 10-10-20 Accepted 20-12-21 On line 03-02-21 * Correspondence Citation: Martynova Yulia Aleksandrovna, Martynov Dmitry Yevgenyevich, Email: [email protected] Sukhova Alina Mikhailovna, Nurgalieva Leila Aivazovna. (2021). Vocal Education in Kazan: From Amateur Music Playing to Professional Training. Propósitos y Representaciones, 9(SPE2), e1075. http://dx.doi.org/10.20511/pyr2021.v9nSPE2.1075 © Universidad San Ignacio de Loyola, Vicerrectorado de Investigación, 2021. This article is distributed under license CC BY-NC-ND 4.0 International (http://creativecommons.org/licenses/by-nc-nd/4.0/). Abstract The article is devoted to vocal education in Kazan as part of a general cultural process. Kazan as “a gathering place of two worlds – the Western and the Eastern”, was the leading music and cultural center. This city was simultaneously one of the largest provincial centers of Russian culture, and Muslim Tatar’s.
    [Show full text]
  • Copyright and Use of This Thesis This Thesis Must Be Used in Accordance with the Provisions of the Copyright Act 1968
    COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Copyright Service. sydney.edu.au/copyright Tertiary Opera Training in Australia and UK: Ethnographic Perspective Maria Briggs (née Okunev) A thesis submitted in partial fulfilment of requirements for the degree of Doctor of Musical Arts Sydney Conservatorium of Music University of Sydney 2015 Maria Briggs (née Okunev) Tertiary Opera Training in Australia & UK: Ethnographic Perspective Declaration I, Maria Briggs (née Okunev) hereby declare that this submission is my own work and that it contains no material previously published or written by another person except for the co-authored publication submitted and where acknowledged in the text.
    [Show full text]
  • Sydney Conservatorium of Music Postgraduate Handbook
    2008 Postgraduate handbook Sydney Conservatorium of Music Postgraduate handbook Set a course for Handbooks online … visit www.usyd.edu.au/handbooks Acknowledgements Acknowledgements The Arms of the University Sidere mens eadem mutato Though the constellation may change the spirit remains the same Copyright Disclaimers This work is copyright. No material anywhere in this work may be 1. The material in this handbook may contain references to persons copied, reproduced or further disseminated ± unless for private use who are deceased. or study ± without the express and written permission of the legal 2. The information in this handbook was as accurate as possible at holder of that copyright. The information in this handbook is not to be the time of printing. The University reserves the right to make used for commercial purposes. changes to the information in this handbook, including prerequisites for units of study, as appropriate. Students should Official course information check with faculties for current, detailed information regarding Faculty handbooks and their respective online updates along with the units of study. University of Sydney Calendar form the official legal source of Price information relating to study at the University of Sydney. Please refer to the following websites: The price of this handbook can be found on the back cover and is in www.usyd.edu.au/handbooks Australian dollars. The price includes GST. www.usyd.edu.au/calendar Handbook purchases Amendments You can purchase handbooks at the Student Centre, or online at
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip
    THE LYRIC .... BALTIMORE Twenty-seventh Season, J907-J908 DR. KARL MUCK, Conductor JJrogramm? of % Fifth and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE WEDNESDAY EVENING, MARCH 18, AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER : Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used bv TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil OberhofTer Wilhelm Gericke Emil Paur Felix Weingartner Represented in Baltimore by THE KRAN2 SMITH PIANO GO. 100 North Charles Street Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mann, F. Eichheim, H Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. » Eichler, J. Tischer-Zeitz, H Kuntz, A, Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S.
    [Show full text]
  • Broshura60 Rudn Eng.Pdf
    KNOWLEDGE KNOWLEDGE OPPORTUNITIES OPPORTUNITIES DISCOWER WORLD IN ONE UNIVERSITY! RESPONSIBILITY CREATIVITY LIADERSHIP LIADERSHIP CONTENTS RUDN UNIVERSITY HAS NO EQUAL 2 TRADITIONS 4 HISTORY 8 RUDN UNIVERSITY TODAY 18 FACULTIES, INSTITUTES, ACADEMY 20 SCIENCE 26 RUDN UNIVERSITY IN THE WORLD 34 TERRITORY OF LEADERSHIP 42 RUDN UNIVERSITY BRAND 54 GREENEST UNIVERSITY OF RUSSIA RUDN University campus is acknowledged to be the greenest and most environmentally friendly among the Russian higher education institutions. 50 hectares of land covered with greenery, own urban forest and paths form a developed green infrastructure which is ranked highly in the world environmental rankings. Moreover, RUDN University is the first higher education institution in Russia where the Faculty of Ecology RUDN UNIVERSITY was established. HAS NO EQUAL UNIVERSITY PROVIDING AN OPPORTUNITY TO OBTAIN A DOUBLE DEGREE AND ONE IN TRANSLATION RUDN University implements over 150 joint MOST INTERNATIONAL UNIVERSITY programmes with leading universities of the world Citizens of 158 countries, representatives providing its students with an opportunity not only of over 500 nationalities and ethnic groups of Asian, to obtain a RUDN University and a partner university African, Middle and Near East, European degrees but to discover the whole world — travel and Latin American countries study and practice a foreign language, find new friends at our University. and acquire valuable knowledge. At RUDN University in addition to the major students can do a program in translation and interpreting and get a translator’s diploma. The program offers a wide option of 12 languages. THE ONLY RUSSIAN UNIVERSITY MOST COMPREHENSIVE UNIVERSITY WHICH PRESENTED A GALA CONCERT Engineering, natural, medical, economic, humanitarian — ON THE MAIN STAGE OF THE UNESCO all the fields of study are represented at RUDN University.
    [Show full text]
  • Existentialism and Vocal Instruction in Higher Education
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2013-12-09 Existentialism and Vocal Instruction in Higher Education Boddie, Susan Boddie, S. (2013). Existentialism and Vocal Instruction in Higher Education (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/26038 http://hdl.handle.net/11023/1181 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Existentialism and Vocal Instruction in Higher Education by Susan Alexandra Boddie A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF EDUCATION GRADUATE DIVISION OF EDUCATIONAL RESEARCH CALGARY, ALBERTA NOVEMBER, 2013 ©Susan Alexandra Boddie 2013 Abstract This study explores the source of inconsistent and unemotional performances by voice students in higher education music programs. The emphasis will be on how to address this through vocal instruction. Many varying approaches to vocal instruction exist in higher education programs which appear to prolong inconsistency and unengaged performing. The research explores several existentialist principles of Jean-Paul Sartre and how these principles may inform and enhance current vocal teaching practice in higher education and perhaps better prepare new voice teachers. The following study will consider the effectiveness of the application of Sartre’s existentialist principles and how they may inform vocal instruction and improve vocal development.
    [Show full text]
  • The University- -Of Melbourne
    THE UNIVERSITY- -OF MELBOURNE MELBOURNE UNIVERSITY PRESS UNIVERSITY OF MELBOURNE CONSERVATORIUM OF MUSIC Established 1894 Directos—Тнg Окмохn РкоrEssoк or Music, SIR BERNARD HEINZE, Kt.B., LL.D. (British Columbia), Mus. Doc. (W.A.), M.A., F.R.C.M., Degré Supérieur, Schola Cantorum, Paris. Vice-Director-REVEREND PERCY JONES, Ph.D., MusDoc. Registrar of the University—F. H. JOHNSTON, В.A., B.Com., L.C.A., J.P. Secretary—IAN PAULL FIDDIAN, Barrister and Solicitor. THE ORMOND CHAIR OF MUSIC AND THE CONSERVATORIUM The Chair of Music was founded in the University of Melbourne by the generous endowment (120,0001 of the late Mr. Francis Ormond in 1891. Three years later, in 1894. the Conservatorium was established. THE BUILDING The present building consists of twenty teaching rooms, a fine lecture hall, concert hall (known as Melba Hall), Director's room, administrative offices, library, social room and staff and students' rooms. AIM OF THE CONSERVATORIUM The chief aim of the Conservatorium is гo provide a general course of musical education, while provision is also made for specialization in any particular subject. CONTENTS Page Dates for 1956 .. .. .. „ Á Faculty of Music and Teaching Staff .. s Annual Report of the Dean of the Faculty .. 8 Courses of Study . .. .. .. .. 10 Introductory School 10 Degree and Diploma School .. .. 10 Degree in School Music . .. 10 Master School .. .. 10 Single Studies .. .. 10 Opera School , .. .. .. 11 University Conservatorium Symphony Orchestras . 11 Extra Classes .. .. • .. .. 11 Table of Fees .. .. .. .. 11 University Sports, Union and S.R.C. Fees .. 12 Payment of Fees and Entry .. .. .. 12 Admission .. .. .. .. 12 Matriculation and Faculty Pre-requisites .
    [Show full text]
  • August 1923) James Francis Cooke
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 8-1-1923 Volume 41, Number 08 (August 1923) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 41, Number 08 (August 1923)." , (1923). https://digitalcommons.gardner-webb.edu/etude/704 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. ■MeiJi, Theo. Presser Co.. Publishers, Philadelphia, Pa. PRESSER’S MUSICAL MAGAZINE NEWMAN ALBUM BRAHMS ALBUM OF OF CLASSICAL DANCES PIANOFORTE COMPOSITIONS fourteen beautiful dances with music Edited by Louis Oesterle Price, $2.50 By Albert W. Newman Pr,C*’. * • A superb compilation of all the most ;fm«ently An attractive volume of terpsichorean novelties for played piano compositions of this master comPoser' dancers and teachers seeking new material to enrich This album has been edited by the well-known author¬ their repertoire. It is also of considerable value to ity, Louis Oesterle, with a view to study use as well those desiring material of this kind for use in Play-* as for the library of the virtuos9 pianist grounds Schools, May D'ay Festivals, Carnivals, Particular attention has been given to the rhythmic grouping, articulating and phrasing, all dynamic FFuli descriptions of each dance are given by illus¬ markings and tempo indications being given care trations of all the movements, diagrams of all the fully.
    [Show full text]
  • Tone Building Strategies Used for Beginning High School Choirs Frances R
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Tone Building Strategies Used for Beginning High School Choirs Frances R. Fonza Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC TONE BUILDING STRATEGIES USED FOR BEGINNING HIGH SCHOOL CHOIRS By FRANCES R. FONZA A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2014 Frances R. Fonza defended this dissertation on April 7, 2014. The members of the supervisory committee were: Judy Bowers Professor Directing Dissertation David Okerlund University Representative Andre J. Thomas Committee Member John Geringer Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGEMENTS I extend deepest appreciation to all who helped make this dissertation and degree possible – to Dr. Bowers for offering many hours of guidance, teaching me how to say ‘no,’ and pushing me to reach my potential; to Dr. Thomas for believing in me and providing tough love and encouragement when each was needed; to Dr. Geringer for advice and generosity with time; to Professor Okerlund for support and encouragement. To Dr. Fenton, Dr. Madsen, Dr. Darrow, Dr. Fredrickson, Dr. Hodges, Dr. Porter and Professor Gerber, your influence has been profound. To my extended family and friends, I cannot thank you enough for your thoughtfulness, kind words, and smiles throughout this journey.
    [Show full text]
  • Download Article (PDF)
    Advances in Social Science, Education and Humanities Research, volume 437 International Scientific Conference “Digitalization of Education: History, Trends and Prospects” (DETP 2020) Digital Technologies in Vocal Training of Chinese Students in Russian Higher Education Institutions Konovalova S.A.1,* Zhang Tinting1,2 Sun Dongdong1,3 1Ural State Pedagogical University, Yekaterinburg, Russian Federation 2Northeastern Pedagogical, China 3Jilin Art Institute, China *Corresponding author. Email: [email protected] ABSTRACT This article considers possibilities of using digital technologies at teaching Chinese students vocal in Russian Higher Education Institutions. It provides grounds for significance of vocal development during all levels of education from infant preschool educational organizations to Higher Education Institutions, which may be implemented with the use of contemporary digital technologies. This article proves that at the Higher Education Institution’s level contemporary vocal pedagogics includes traditional approaches to education, based on Russian and Italian vocal schools, and contemporary methodologies, intended to form popular and jazz music technical mastery. The purpose of this article is to describe a set of exercises and tasks from contemporary vocal methodologies, including those using digital technologies, which favour effective process of Chinese students vocal mastery in the Russian Higher Education Institutions. The selection of exercises and tasks was conditioned by diagnostics results at the study initial stage and also by the particularity of foreign students training. The theoretical study of different areas, genres and styles history, and also practical learning through vocal works performance were offered for the students for development of musical culture through learning vocal works and performers of different nationalities. A set of exercises and tasks, developed on the grounds of contemporary vocal methodologies of both foreign and Russian authors, was offered to the student for forming vocal skills and estrade techniques.
    [Show full text]
  • VOICE, RACE, and NATION in US MUSIC, 1890-1924 by Scott A
    VOX AMERICANA: VOICE, RACE, AND NATION IN U.S. MUSIC, 1890-1924 by Scott A. Carter A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music) at the UNIVERSITY OF WISCONSIN-MADISON 2014 Date of final oral examination: 05/15/2014 This dissertation is approved by the following members of the Final Oral Committee Ronald M. Radano, Professor, School of Music Jerome Camal, Assistant Professor, Anthropology Susan C. Cook, Professor, School of Music R. Anderson Sutton, Professor, School of Pacific and Asian Studies, University of Hawaii at Manoa Amanda Weidman, Associate Professor, Anthropology, Bryn Mawr College i For Katie ii The more I hear, the less I know. — "Music is a Better Noise," Essential Logic iii Table of Contents Acknowledgements v List of Figures ix A Note on Transcriptions and Direct Quotations x Chapter One 1 Introduction Chapter Two 28 Anthropology, Vocal Science, and the Ordering of World Song Chapter Three 73 Forging a Sound Citizenry: Voice Culture and the Embodiment of the Nation Chapter Four 122 Bert Williams's Vocal Challenge Chapter Five 167 The Vocal Economy of Vernon Dalhart Epilogue 205 Bibliography 211 iv v Acknowledgements Like any major project, my dissertation has benefitted from the insights, critiques, and generous advice of friends and colleagues. I want to begin my acknowledgements by thanking the community of scholars in the School of Music at UW-Madison for creating programs that challenge students to produce scholarship of the highest caliber while allowing them the freedom to pursue avenues of innovative musical inquiry. I am particularly grateful for the interdisciplinary approach to scholarship afforded by the department, which allowed me to seek out and work with scholars in anthropology, history, communication arts, and Afro-American studies.
    [Show full text]
  • Teacher Contract
    PROFESSIONAL AGREEMENT between the FLUSHING COMMUNITY SCHOOLS and LOCAL 10 MEA/NEA (FLUSHING UNIT) 2017-2018 TABLE OF CONTENTS ARTICLE PAGE Preamble........................................................................……...... 1 1 Recognition................................................................................. 1 2 Association Rights...................................................................... 2 3 Teacher Rights........................................................................... 3 4 Rights of the Board.................................................................... 4 5 Payroll Deductions...........…………………………………………. 5 6 Normal Working Hours.............................................................. 5 7 Special Student Programs......................................................... 7 8 Teaching Conditions................................................................... 7 9 Department Coordinator............................................................ 9 10 Professional Qualifications........................................................ 9 11 Assignments, Transfers, Vacancies and Promotions............... 9 12 Illness, Disability and Bereavement......................................... 10 13 Professional and Personal Business and Association Days..... 13 14 Sabbatical Leave........................................................................ 14 15 Unpaid Leaves of Absences....................................................... 14 16 Academic Freedom....................................................................
    [Show full text]