DOCSLIB.ORG

Models of Vocal Tract Configuration for Sung Primary Vowels

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Models of Vocal Tract Configuration for Sung Primary Vowels TMUS 8329: Forming Formants 1 Forming Formants: Models of Vocal Tract Configuration for Sung Primary Vowels Angerhofer, Thomas Erik University of Colorado Boulder Author Note TMUS 8329 Pedagogy Project for DMA in Voice Performance and Pedagogy TMUS 8329: Forming Formants 2 Abstract The familiar adage from the old Italian school of singing, “si canta come si parla,” or “one sings as one speaks,” is as familiar today to teachers of singing as it was in centuries past. There is little argument, however, that the requirements of acoustic, classical singing differ from speech in at least three important ways: projection, intonation, and duration. In order to meet the musical and expressive demands of acoustic, classical vocal music, it would stand to reason that the manner in which a singer shapes the cavities and utilizes the articulators would differ from speech. Using the primary vowels /i e a o u/ as a point of reference, this document will begin by describing standard vocal tract configuration during speech. It will then take a chronological approach to detailing vocal tract shaping and use of articulators as they are outlined in both seminal and current vocal pedagogy texts. Finally, this document will attempt to categorize these findings to point out similarities and differences in thought. Keywords: Vowels, Formants, Articulation, Resonator, Vocal Tract TMUS 8329: Forming Formants 3 Forming Formants: Models of Vocal Tract Configuration for Sung Primary Vowels There are many well-known adages in the lexicon of vocal pedagogy, but perhaps none so infamous as “si canta come si parla.” Some cling to the idea that one sings as one speaks as though it were an absolute truth. While it may be more commonly used today in the instruction of contemporary music styles, perhaps this is only due to the decades of criticism this expression has received among experts in classical singing. Richard Miller’s March 1987 article in the NATS Journal drew attention to some of the issues related to this saying, an argument that continues to resonate with authors, as exemplified in the November 2018 Journal of Singing article, “Phonetic (L)imitation.” I have personally been familiar with the axiom for over 30 years and have heard it used in varying contexts. Nevertheless, I have never thought of it as a rule or being particularly instructive, but more as an aphorism. To me, it is a general observation regarding delivery; because the art of singing harnesses both music and text for communication, it is important that sung sounds come across to the listener in a manner similar to speech. That is to say, there are some qualities of speech that should be maintained in singing, particularly the elements of flow and prosody, including intonation, tone, stress, and rhythm. Authors critical of the saying and its application for classical singing have noted that singing and speech vary in at least three important ways: projection, intonation, and duration. In conversational speech, the proximity and size of the audience is minimal. Intensity levels, therefore, can remain relatively low while still being intelligible. In classical singing, the distance and size of the audience is far greater. In conversational speech, variation of pitch is rather limited – except in moments of heightened emotion. Intonation is typically limited to less than a perfect 4th up or down from the habitual or mean pitch, resulting in a functional pitch range of TMUS 8329: Forming Formants 4 less than an octave. Professional classical singers are required to have a functional pitch range of over two octaves in order to meet the demands of many compositions. With the exception of auctioneers and patter songs, duration varies greatly between speech and singing. It is frequently the case that the sung line is delivered at a slower tempo than in conversational speech, requiring greater specificity from the singer in defining vowel sounds and timing the change from sound to sound. Given the different requirements of speech and singing, along with the goal of having them interpreted similarly by the listener, there would seem to be a logical extension: in order for them to sound similar, they must be done differently. Nevertheless, after over 30 years of vocal instruction, it wasn’t until quite recently that the concept of singing articulation as being disparate from speech was approached in any formal or systematic way in my training. Of course, there were casual mentions regarding the formation of different sounds, such as “the edges of the tongue should stay in contact with the top teeth” or “the tip of the tongue should remain touching the bottom teeth.” After realizing some benefits from training a method of articulation that is singing-specific, my curiosity was sparked as to how leading pedagogues have approached the subject of articulation. Using the primary vowels /i e a o u/ as a point of reference, this document will begin by describing standard vocal tract configuration during speech. It will then take a chronological approach to detailing vocal tract shaping and use of articulators as they are outlined in both seminal and current vocal pedagogy texts. Finally, this document will attempt to categorize these findings to point out similarities and differences in thought. TMUS 8329: Forming Formants 5 Articulatory Phonetic Model: Speech Articulatory phonetics is the subfield of phonetics primarily concerned with how humans produce the sounds of speech, rather than the physical properties of spoken sounds, or acoustic phonetics. Singing voice science owes much of its foundational knowledge to these two disciplines; since the invention of the Bell Telephone in 1876 and the Edison Phonograph in 1877, linguists and acousticians have been using increasingly more sophisticated tools for recording, analyzing, and synthesizing the sounds of speech. Many of the acoustic and articulatory models for speech have been transferred and applied to singing, continuing to inform our current understanding. Fig. 1: Places of Articulation In figure 1, we see the places of articulation; these are the points in the vocal tract where maximum obstruction may occur due to the moveable structures. An obstruction is formed when two articulators move into proximity. The moving articulator is considered active, while the stationary one is considered passive. These places of articulation, where passive and active articulators meet, are labeled: 1. Exolabial, 2. Endo-labial, 3. Dental 4. Alveolar 5. Post-alveolar, TMUS 8329: Forming Formants 6 6. Pre-palatal, 7. Palatal, 8. Velar, 9. Uvular, 10. Pharyngeal, 11. Glottal, 12. Epiglottal, 13. Radical, 14. Postero-dorsal, 15. Antero-dorsal, 16. Laminal, 17. Apical, 18. Sub-apical. In the case of vowels, the structures that contribute the most are the cavities of the throat and mouth, or the laryngopharynx, oropharynx, and the oral cavity, the soft palate, the tongue, and the lips. The laryngo- and oro- pharynges, together with the oral cavity, are responsible for resonating the source harmonics that create the spectral tone colors that we identify as vowels. The bulge in the tongue divides or couples the pharynges and the oral cavity, raising or lowering the resonance frequency of the two spaces or encouraging them to resonate more as a singular cavity. The velum, or soft palate, can raise or lower, contributing the first formant space and controlling nasality. The lips can potentially shorten or lengthen the vocal tract by retracting at the corners (spreading or smiling) or protruding forward (puckering), raising or lowering all or the resonating frequencies of the vocal tract. Fig. 2: Describing Vowels Spoken vowels are described by a combination of factors, with the position of the highest point in the tongue being the primary descriptor. If the bulge in the tongue is close to the roof of the mouth, the vowel is considered “closed.” If the tongue is seated lower in the mouth, with the bulge of the tongue less pronounced, the vowel is considered “open.” When the highest point of the tongue is nearer to the anterior portion of the mouth, it is considered a “front” vowel, but when the highest point is approaching the posterior portion of the mouth, it is considered a TMUS 8329: Forming Formants 7 “back” vowel. There is also the distinction of the “central” vowel, where the bulge in the tongue is more toward the middle of the mouth. Fig. 3: Rounded vs. Unrounded Another dimension used to describe spoken vowels is rounded vs. unrounded. This value refers to the movement or shaping of the lips during articulation. This may not be the most accurate descriptor; for the rounded vowels there are varying degrees of “pucker” or moving the corners of the mouth inward and/or slightly forward, but for the unrounded vowels there is sometimes an element of “spreading” or pulling the corners of the mouth back. Loose and moon are fine examples of the rounding, while please and me often go beyond neutral to have an element of spreading. Chiba and Kajiyama’s research, detailed in The Vowel: Its Nature and Structure, is among the most comprehensive and influential works in the field of phonetics. Focusing on the primary vowels /i e a o ɯ/ (the unrounded /ɯ/ is more idiomatic to Japanese than the rounded /u/), their work is presented here as it is representative of the perspective of articulatory phonetics from the field of speech. In addition, it will provide a baseline for comparison with the varying positions on articulatory phonetics in singing. TMUS 8329: Forming Formants 8 /i/ Vowel Articulation Fig. 4: /i/ vowel articulation Articulation for the /i/ vowel is done with the bulge in the tongue toward the roof in the anterior portion of the mouth, or post-alveolar region, thus making it a “close unrounded front” vowel.
Load more

Recommended publications
  • University Microfilms, a XEROX Company, Ann Arbor, Michigan 1971
    71-27,611 FARLEY, Charles Richard, 1925- CONTRASTS IN VOCAL PEDAGOGY: 194-0 AND 1970. The University of Oklahoma, D.Mus.Ed., 1971 Music University Microfilms, A XEROX Company, Ann Arbor, Michigan ©Copyright by Charles Richard Farley 1971 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE CONTRASTS IN VOCAL PEDAGOGY: 1940 AND 1970 A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSIC EDUCATION BY CHARLES RICHARD FARLEY Norman, Oklahoma 1971 CONTRASTS IN VOCAL PEDAGOGY: 1940 AND 1970 APPROVED BY jjSC JIÂjÙ DISSERTATION COMMITTE PLEASE NOTE: Some pages have indistinct print. Filmed as received. UNIVERSITY MICROFILMS. ACKNOWLEDGMENT To my adviser, Dr. Bruce Govich, for his guidance, patience, and enthusiasm; To my Committee for the time and advice graciously extended me; To Dr. Shirley Jones for helpful criticism and encouragement; To Oklahoma Baptist University and my friends there, who have shown me every courtesy; To Jo Nicholson Bond for the careful preparation of this final copy; And to my wife, Jean, and sons, Frazier and Tracy, for their patience, help, and understanding; I express my deep gratitude. iii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION .................................. 1 II. HISTORICAL ORIGINS OF INDIRECT AND DIRECT APPROACHES ........................ 13 III. RESPIRATION ........... 24 IV. PHONATION .......... 51 V. RESONATION ................................. 77 VI. MODULATION ................................... 108 VII. SUMMARY, INTERPRETATION OF FINDINGS, AND RECOMMENDATIONS FOR FURTHER STUDY ......... 153 BIBLIOGRAPHY .......................................... 183 APPENDIX .............................................. 193 iv CONTRASTS IN VOCAL PEDAGOGY: 1940 AND 1970 CHAPTER I INTRODUCTION The purpose of this study is to identify contrasts and to indi­ cate changes which have occurred in methods of teaching singing since the 1940's.
    [Show full text]
  • VB3 / A/ O,(S0-02
    /VB3 / A/ O,(s0-02 A SURVEY OF THE RESEARCH LITERATURE ON THE FEMALE HIGH VOICE THESIS Presented to the Graduate Council of the University of North Texas in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Roberta M. Stephen, B. Mus., A. Mus., A.R.C.T. Denton, Texas December, 1988 Stephen, Roberta M., Survey of the Research Literature on the Female High Voice. Master of Arts (Music), December, 1988, 161 pp., 11 tables, 13 illustrations, 1 appendix, bibliography, partially annotated, 136 titles. The location of the available research literature and its relationship to the pedagogy of the female high voice is the subject of this thesis. The nature and pedagogy of the female high voice are described in the first four chapters. The next two chapters discuss maintenance of the voice in conventional and experimental repertoire. Chapter seven is a summary of all the pedagogy. The last chapter is a comparison of the nature and the pedagogy of the female high voice with recommended areas for further research. For instance, more information is needed to understand the acoustic factors of vibrato, singer's formant, and high energy levels in the female high voice. PREFACE The purpose of this thesis is to collect research about the female high voice and to assemble the pedagogy. The science and the pedagogy will be compared to show how the two subjects conform, where there is controversy, and where more research is needed. Information about the female high voice is scattered in various periodicals and books; it is not easily found.
    [Show full text]
  • Musical Voices of Early Modern Women 1St Edition Pdf, Epub, Ebook
    MUSICAL VOICES OF EARLY MODERN WOMEN 1ST EDITION PDF, EPUB, EBOOK Thomasin LaMay | 9781351916288 | | | | | Musical Voices of Early Modern Women 1st edition PDF Book Charles C. The band formed in , with folk musician Mike Settle guitar and backing vocals and the operatically-trained Thelma Camacho lead vocals completing the lineup. Learn how and when to remove these template messages. Most serious collectors want the 'true first edition' - the 'first edition, first printing' - and sometimes detective work is required to identify which edition that is. There are a number of these type of sellers out there. The third single from the album, a version of Merle Haggard 's "Today I Started Loving You Again" reached the lower regions of the country charts in mid Choral Opera Lied Vocables. Monumental tried to give them just this. The Guardian notes that Tolkien inscribed it with a poem in Old English, which roughly translates to:. American country rock group. As with the Ordinary, the earliest settings are in plainchant, and troping also existed in the Propers. The current retail value of your book is probably somewhere in that neighborhood. Slowly growing apart from the others, Camacho began to feel restricted by the band in a number of ways. Today is National Voter Registration Day! Each time a publisher releases a new instance of the same title, or when a book is released in a new format, these may also be considered first edition books. Women are typically divided into three groups: soprano , mezzo-soprano , and contralto. Recorded over six months in , and released in March , The Ballad of Calico was written by future star Michael Murphey and the First Edition's musical director and arranger Larry Cansler.
    [Show full text]
  • A Literature Review of Uses and Attitudes Towards the Acceptance of Assistive Real-Time Technology in the Voice Studio Jeanine F
    Southern Illinois University Carbondale OpenSIUC Research Papers Graduate School Winter 11-1-2013 A Literature Review of Uses and Attitudes Towards the Acceptance of Assistive Real-Time Technology in the Voice Studio Jeanine F. Wagner [email protected] Follow this and additional works at: http://opensiuc.lib.siu.edu/gs_rp Recommended Citation Wagner, Jeanine F., "A Literature Review of Uses and Attitudes Towards the Acceptance of Assistive Real-Time Technology in the Voice Studio" (2013). Research Papers. Paper 440. http://opensiuc.lib.siu.edu/gs_rp/440 This Article is brought to you for free and open access by the Graduate School at OpenSIUC. It has been accepted for inclusion in Research Papers by an authorized administrator of OpenSIUC. For more information, please contact [email protected]. A LITERATURE REVIEW OF USES AND ATTITUDES TOWARDS THE ACCEPTANCE OF ASSISTIVE REAL-TIME TECHNOLOGY IN THE VOICE STUDIO by Jeanine Wagner B.M., Southern Illinois University, 1980 M.M., Southern Illinois University, 1981 D.M.A., University of Illinois, 1987 A Research Paper Submitted in Partial Fulfillment of the Requirements for the Master of Science Degree Department of Communication Disorders and Sciences in the Graduate School Southern Illinois University Carbondale December 2013 RESEARCH PAPER APPROVAL A LITERATURE REVIEW OF USES AND ATTITUDES TOWARDS THE ACCEPTANCE OF ASSISTIVE REAL-TIME TECHNOLOGY IN THE VOICE STUDIO By Jeanine Wagner A Research Paper Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Science in the field of Communication Disorders, Speech and Language Pathology Approved by: Sandie Bass-Ringdahl, Ph.D./CCC-A, Chair Graduate School Southern Illinois University Carbondale November 1, 2013 AN ABSTRACT OF THE RESEARCH PAPER OF JEANINE F.
    [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]
  • Laryngeal Physiology and Terminology in CCM Singing
    Faculty of Education Ingvild Vestfall Master’s thesis Laryngeal physiology and terminology in CCM singing A thesis investigating research on the underlying laryngeal physiology of CCM singing techniques, and experiences of teaching CCM genres to adolescents Stemmefysiologi og terminologi i CCM/rytmisk sang En studie av forskning på stemmefysiologi knyttet til sangteknikker i CCM/rytmiske sjangere, og erfaringer med å undervise ungdommer i CCM/rytmisk sang Master in Culture and Language 2018 Consent to lending by University College Library YES ☒ NO ☐ Consent to accessibility in digital archive Brage YES ☒ NO ☐ ii TABLE OF CONTENTS TABLE OF CONTENTS.................................................................................................................. III LIST OF TABLES ........................................................................................................................... V LIST OF FIGURES ........................................................................................................................ VI ABSTRACT ................................................................................................................................. VII SAMMENDRAG (IN NORWEGIAN) .............................................................................................. VIII PREFACE ..................................................................................................................................... IX 1 INTRODUCTION ........................................................................................................................
    [Show full text]
  • ABSTRACT Fundamentals of Versatile Vocal Technique Robert Lewis
    ABSTRACT Fundamentals of Versatile Vocal Technique Robert Lewis Director: Robert Best, Ph. D. In the twentieth and twenty-­‐first centuries, the boundaries of vocal technique have been expanded into realms heretofore unexplored. The physical nature of singing has not changed; only the ends to which it is employed. Two distinct styles have emerged: classical and contemporary/musical theatre technique. Pedagogues from the two fields teach many of the same concepts, but differ in their emphasis on certain elements over others. This thesis discusses the elements of singing stressed roughly equally by both styles of singing, and describes certain techniques used to teach them. FUNDAMENTALS OF VERSATILE VOCAL TECHNIQUE A Thesis Submitted to the Faculty of Baylor University In Partial Fulfillment of the Requirements for the Honors Program By Robert Lewis Waco, TX November, 2014 TABLE OF CONTENTS Chapter One: Vocal Styles and Research Methods ....................................................................... 1 Vocal Styles ......................................................................................................................................... 1 Research Methods ............................................................................................................................ 5 Chapter Two: Background: Physics and Physiology oF the Singing Voice ...................... 10 The Physical Foundations of Singing .................................................................................... 10 The Physiological Foundations
    [Show full text]
  • Biographical Outline: Alan R. Lindquest
    Biographical Outline: Alan R. Lindquest 1891 – Born Albert Lindquest in Chicago, Illinois of Swedish parents. The family name was misspelled at Ellis Island. His Mother is a music lover and gives him violin lessons at an early age. 1906 – Always interested in singing, Lindquest auditions and gets his first singing job at age 15 at a large synogogue in Chicago. His starting salary is $15 per week. He studies with an American tenor named Henry Walker, and a Bass named Barron. Both were students of Manuel Garcia. 1909 – Because his Father encouraged him to go to law school instead of becoming a musician, he attends Northwestern University. There, while singing a solo at a rehearsal for the glee club, he is discovered by the Italian tenor, Allessandro Bonci. 1910 – Travels to New York for the first time at the suggestion of Allessandro Bonci, who also recommends Lindquest to many professional musical contacts there. Due to these recommendations, Bonci is responsible for much of Lindquest’s early success. 1911-1913 Lindquest hired to tour with the Damrousch Symphony Orchestra and he tours all of the U. S. and Canada performing 20 different oratorios. Lindquest, who was 19 years old at the time, later said this preparation was what made him a true musician. He also tours with the Minnesota Symphony. 1914 – Meets and coaches with Enrico Caruso, when he auditions for the Victor Company to record Swedish folk songs. Caruso, who loved his voice, recommended that he go to his teacher in Italy. However, Lindquest travels to Paris to study with Jean de Reske, because of his fame as the first tenor to connect the high C.
    [Show full text]
  • EXPLORING the WHYS of INTONATION PROBLEMS by Barbara M
    · ........................................................................ EXPLORING THE WHYS OF INTONATION PROBLEMS by Barbara M. Doscher HETHER IT BE SOLO cannot function cooperatively. The reader, the voice tires and intonation or group singing, cer­ downward tilt creates tension in the suffers. For the solo singer, the cure tainly one of the most neck muscles. Since the larynx is is simple: Do not sing until you common and at the same muscularly suspended in the throat, know the music well enough not to time most noticeable of any constriction in these muscles has tire your voice. all vocal defects is faulty an effect on the function of the vocal intonation. To the trained folds and can be heard in the sound. Young singers too often take a ear, the problem is Again, the most common intonation new song or role to the piano, immediately apparent. What is not result is flatting. (See "Heads Up!" in and, without any knowledge of so clear is the cause of the it, begin to use and problem. Most of us are all waste the voice in a too familiar with the preliminary [study] infamous adjudication sheets that could be equally on which the "I" word has well accomplished on a been repeated under several mechanical instrument. technical categories, They chop and hack at generally with the their voices, but not in admonition to use more any effort at vocal breath support. Alas, bad accomplishment, intonation is not such a merely for the purpose simple matter; there are a of memorizing. It is multitude of reasons why the only when the words problem occurs, some of and music are firmly them related to breathing engraved on my mind and some not.
    [Show full text]
  • He Joined Adjudication
    --� BHJGl{J.\PHICAL I NFORHA'I'ION SHEET James McKinney is Dean of the School of Church Music, Southwestern Baptist Theological Seminary, Fort Worth, Texas, and in addition is Professor of Voice. Previously he was Chairman of the Music Theory Department. He joined the faculty at Southwestern in 1950 after a year's teaching in 1956. In 1958 he served as guest teacher at the University of Southern California, and driring the 1971-72 school year was a visiting lecturer at Hong Kong Baptist College and at Hong Kong 9aptist Seminary. Dean McKinney received his Bachelor of Music and Master of Music degrees from Louisiana State University, and was awarded the Doctor of Musical Arts degree by the University of Southern California. He also has studied at Louisiana Tech University, Stanford University, and �estminster Choir College. He studied voice with William Vennard and Ilda Schriefer, theory and composition with Helen Gunderson and Halsey Stevens, church music and conducting with Charles Hirt, and musicology with Pauline Alderman, Gustav Reese, and J. A. Westrup. His dissertation topic was The Solo Bass Voice in the Cantatas of J. S. Bach. In 1969, he was given an Honors Aw-ard by the University of Southern California in "Recognition of Professional Service , Leadership, and Performance." A native of Minden, Louisiana, he is a nephew of the late B. B. McKinney, beloved Baptist hymn writer and gospel singer. He is married to the former Elizabeth Ric hmond of Oakdale, Louisiana, who is in her own right an accomplished musician. The McKinneys have three sons--James, Jr ., Timothy, and Kevin.
    [Show full text]
  • Teaching Countertenors: Integrating Countertenor Pedagogy Into the Collegiate Studio
    TEACHING COUNTERTENORS: INTEGRATING COUNTERTENOR PEDAGOGY INTO THE COLLEGIATE STUDIO BY PETER G. THORESEN Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University May, 2012 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. ___________________________________ Patricia Havranek, Research Director/ Chairperson __________________________________ Brent Gault __________________________________ Brian Horne __________________________________ Patricia Wise ii ACKNOWLEDGMENTS I am deeply grateful to my friends and family for their counsel and continued questions about countertenors. Specifically, I wish to thank Joseph Mace for his patience and generosity of spirit and time throughout the course of this examination. I am indebted to the members of my research committee, and wish to thank my research director, chairperson, and voice teacher, Professor Patricia Havranek for her seemingly endless supply of encouragement, guidance, and knowledge of vocal pedagogy. I also wish to thank Dr. Estelle Jorgensen for teaching me how to properly organize my thoughts, synthesize those of others, and convey them to readers. I dedicate this doctoral document to the memory of my former teacher, Inez Altman Crofts, who introduced me to the word countertenor. I also dedicate this examination to the memory of Professor Paul Kiesgen, whose love and knowledge of voice teaching continue to shape me as a teacher, scholar, and colleague. iii CONTENTS ACKNOWLEDGMENTS iii Chapter 1. Introduction: A Call for Integration 1 Chapter 2. Respiration 16 Chapter 3. Phonation 33 Chapter 4. Resonance 53 Chapter 5. Repertoire 71 Chapter 6.
    [Show full text]
  • Registration Strategies of Professional Operatic Mezzo-Sopranos D.M.A
    Registration Strategies of Professional Operatic Mezzo-Sopranos 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 Katherine Celine Osborne, B.M, M.V.P. Graduate Program in Music The Ohio State University 2015 D.M.A. Document Committee: Scott J. McCoy, Advisor Aharon E. Freud David Huron Robert J. Ward Copyright by Katherine Celine Osborne 2015 Abstract Operatic mezzo-sopranos are required to sing in their low to middle pitch ranges more frequently than other female voice types, with minimal perceptual evidence of tonal change or irregularities, at substantial intensity, and with musical finesse and flexibility. To observe register behaviors in professional operatic mezzo-sopranos, audio and EGG data were collected from two subjects who sang ascending and descending chromatic scales between C4 and G4 on vowels /a/, /i/, /o/, and /u/. General adductory and resonance patterns were observed through EGGW50 measurements and spectral analysis. Register transitions were located and defined through criteria based on perception, EGG signal intensity changes, and vibrato rate and extent pattern disturbances. Vibrato rate and extent pattern disturbances occurred in 79% of Subject 1’s samples with an identifiable transition (19 of 24 task tokens) and 80% of Subject 2’s samples with an identifiable transition (4 of 5 task tokens). Subject 1 displayed audible, objectively identifiable evidence of register transitions in 24 of 24 samples. Subject 2 displayed audible, objectively identifiable evidence of register transitions in 5 of 24 samples. Transitions were located between C#4 and F4 and most frequently between D#4 and E4.
    [Show full text]