Theses and Dissertations
This collection includes both ASU Theses and Dissertations, submitted by graduate students, and the Barrett, Honors College theses submitted by undergraduate students.
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- All Subjects: Voice
- Creators: Norton, Kay
Description
ABSTRACT This document introduces singers and voice teachers to Dr. Alfred A. Tomatis's listening training method with a particular emphasis on its relevance to singers. After presenting an overview of Tomatis's work in the field of audio-psycho-phonology (circa 1947 through the 1990s) and specific ways that aspects of his theory are relevant to singers' performance skills, this project investigates the impact of listening training on singers by examining published research. The studies described in this document have investigated the impact of listening training on elements of the singer's skill set, including but not limited to measures of vocal quality such as intonation, vocal control, intensity, and sonority, as well as language pronunciation and general musicianship. Anecdotal evidence, presented by performers and their observers, is also considered. The evidence generated by research studies and anecdotal reports strongly favors Tomatis-based listening training as a valid way to improve singers' performance abilities.
ContributorsHurley, Susan Lynn (Author) / Doan, Jerry (Thesis advisor) / Dreyfoos, Dale (Committee member) / Kopta, Anne (Committee member) / Norton, Kay (Committee member) / Thompson, Billie M (Committee member) / Arizona State University (Publisher)
Created2012
Description
This dissertation investigates vocal performance of art songs requiring authentic and appropriate regional dialects of the American South. Through close analysis of performance practice in American opera, musical theatre, and art song, this document follows the existence of regional southern dialects on the stage from the early 1800s to today’s practice. Evidence of specified regional southern accents is discussed regarding literary depictions in librettos, lyrics, and dialogue. Other topics include the ways regional nuances and colloquialisms differentiate southern regional accents, the existence of a generic “southern” accent to stand for any representation of rural whites, and, briefly, the nonspecific ways African American southern dialects are usually rendered. Art song selections from Kenneth Frazelle’s Appalachian Songbooks (1989) and Doug Borwick’s Southern Comfort (1989), which I studied, recorded, and transcribed into singer’s IPA (International Phonetic Alphabet), are the central texts of this discussion. The recording can be accessed online at https://soundcloud.com
ina-c-garguilo/sets/southern-study-through-song.
This research will benefit the performers of American art song that specifically requires “white” dialects, the native and non-native speakers of some Southern-American dialects, and scholars who seek to promote authentic performance practice of southern oral tradition in concert music.
ina-c-garguilo/sets/southern-study-through-song.
This research will benefit the performers of American art song that specifically requires “white” dialects, the native and non-native speakers of some Southern-American dialects, and scholars who seek to promote authentic performance practice of southern oral tradition in concert music.
ContributorsCole, Nina Michelle (Author) / Dreyfoos, Dale (Thesis advisor) / Norton, Kay (Thesis advisor) / FitzPatrick, Carole (Committee member) / Arizona State University (Publisher)
Created2017
Description
Among the most popular music genres are pop, rock, country, R&B, jazz, and blues. In the context of hit TV shows such as Glee, The Voice, and The Masked Singer, as well as the musical theater and pop industries booming, the American education system should be helping to prepare students for success in the current music industry. America’s higher education systems have not followed the industry’s trends as much as they could. Music schools with classical voice programs significantly outnumber musical theatre programs in the United States, and pop/contemporary commercial music programs are rare. The small number of contemporary commercial music programs (CCM) likely has to do with the lack of training that the faculties have had in these genres - they aren't qualified to teach them.This paper specifically targets an audience of classically-trained singers and voice teachers. It will act as a guide on how to use classical training and classical vocal pedagogy to sing and teach Contemporary Commercial Music, CCM. There are ten chapters to this paper, discussing classical vocal pedagogy/vocal health and how those topics translate to CCM singing, proven and effective warmups for the CCM singer, and specific stylistic requirements with repertoire suggestions for all voice types and age groups in the styles of musical theatre, pop, jazz, contemporary Christian/gospel, and country.
The information in this paper is vital for the development of singers in today’s industry. There are many famous pop singers with vocal injuries and, without proper vocal training, current singers are unable to find their authentic, healthy voices. Instead, many untrained pop singers modify their sound to imitate those they hear on the radio, which can lead to unhealthy vocal production. It is imperative that the systems training singers to sing classical, opera, and musical theatre include all CCM vocal teaching in their techniques. With this document, those who have been trained within the environment of classical music can use the same vocal health techniques and modify their approach to successfully teach and sing contemporary commercial music.
ContributorsWasbotten, Leia (Author) / FitzPatrick, Carole (Thesis advisor) / DeMaris, Amanda (Committee member) / Norton, Kay (Committee member) / Arizona State University (Publisher)
Created2022