Matching Items (6)
Filtering by
- All Subjects: Singers
- All Subjects: Music Education
- Creators: Dreyfoos, Dale
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
The trained singer utilizes an awareness of her body as an instrument. When she becomes pregnant, her body changes in numerous ways to support the pregnancy. Many of these changes have great impact on her ability to sing during the pregnancy and postpartum periods. The voice may be altered positively or negatively by the release of hormones. The body undergoes many changes that affect the posture and breathing required for singing. Most notably, the abdominal muscles are greatly impacted by the pregnancy. They are stretched by the growing uterus, and this affects their function. In addition, the linea alba (the connective tissue between the halves of the rectus abdominis) is softened by hormonal increases and subject to stretching as the uterus grows, predisposing it to weakness. Since the other abdominal muscles attach to the linea alba via connective tissue, maintaining the integrity of the linea alba during pregnancy and postpartum is vital to the operational function of the abdominal muscles. Protecting the vulnerable linea alba must be deliberately undertaken in two parts. First, conscious exercise is needed to preserve the linea alba during pregnancy and to rehabilitate it after pregnancy. Targeted exercises strengthen the transverse abdominis and shorten and approximate the two halves of the rectus abdominis. Second, modifications in daily movement are necessary to protect the linea alba while performing routine activities. Cesarean sections present additional surgical concerns for singers, including abdominal incisions, use of medication, and the rare need for general anesthesia via intubation. Recovery from a cesarean can be difficult due to abdominal pain, yet steps may be taken to speed healing at the hospital and at home. This paper provides an overview of how pregnancy affects the singer, discusses the effects of pregnancy and cesarean section, and provides a plan to protect the abdominal muscles during pregnancy and rehabilitate them in the postpartum period. It combines information from the fields of physical therapy, medicine, and surgery into a guide for the singer and voice teacher.
ContributorsWill, Andrea Pitman (Author) / Doan, Jerry (Thesis advisor) / Elgar Kopta, Anne (Thesis advisor) / Dreyfoos, Dale (Committee member) / Mills, Robert (Committee member) / Oldani, Robert W (Committee member) / Arizona State University (Publisher)
Created2013
Description
The performance of Charles Ives's art songs can be challenging to even the most experienced singers, but to beginning singers, they may be even more so, due to such twentieth-century aspects as polytonality, polyrhythm, tone clusters, aleatoric elements, and quarter tones. However, Ives used previously existing material, often familiar hymn tunes, as the foundation for many of his art songs. If beginning students first are exposed to this borrowed material, such as a simple hymn tune, which should be well within even the most experienced singer's comfort range, they can then learn this tune first, as a more simplistic reference point, and then focus on how Ives altered the tunes, rather then having to learn what seems like an entirely new melody. In this way, Ives's art songs can become more accessible to less-experienced singers. This paper outlines a method for researching and learning the borrowed materials in Ives's songs that utilize them, and reviews materials already commonly used by voice teachers to help beginning students learn their music. By combining this method, which focuses on the borrowed materials, with standard practices teachers can then help their beginning students more easily learn and perform Ives's art songs. Four songs, from the set "Four Hymn Tune Settings" by Charles Ives are used to illustrate this method.
ContributorsRuhleder, Kathleen (Author) / FitzPatrick, Carole (Thesis advisor) / Dreyfoos, Dale (Committee member) / Carpenter, Ellon (Committee member) / May, Judy (Committee member) / Schildkret, David (Committee member) / Arizona State University (Publisher)
Created2012
Description
The notion that a singer’s voice is an expression of their personality serves as the catalyst for an examination of the relationship between the continuum of introversion and extraversion, and the pathologies of muscle tension dysphonia, vocal nodules, and performance anxiety. This paper begins with a brief introduction defining extraversion and introversion, followed by a review of personality studies identifying opera singers as primarily extraverted. Definitions of vocal nodules and muscle tension dysphonia are then given along with a list of recommended therapies. These elements tie in with two studies in speech pathology that suggest that behaviors of extraversion contribute to the development of vocal nodules, and behaviors of introversion contribute to muscle tension dysphonia and a higher laryngeal placement. Performance anxiety is shown to compound the behaviors that lead to vocal pathologies in singers. Additional therapies are recommended to address anxiety management in vocal lessons. Finally, since personality factors that contribute to vocal pathology are psychological, it is recommended that voice teachers refer their students to a psychotherapist for proper treatment.
ContributorsCurtis, Paul Josef (Author) / Norton, Kay (Thesis advisor) / Hawkins, Gordon (Thesis advisor) / Dreyfoos, Dale (Committee member) / Arizona State University (Publisher)
Created2017
Description
ABSTRACT
Korea’s first opera Chunhyang Jeon was composed by Jaemyeong Hyun in 1948. Until that time, most Korean vocal music was sung by a few native traditional artists. Inspired by their work, composer Hyun combined elements from the ancient Pansori (epic poetic forms presented by a solo singer with drum) and Western music techniques to create his opera. Hyun also used the more vernacular Hangeul (Korean alphabet) for his libretto rather than the Chinese usually heard in Korean theatrical presentations. It might be noted that in that same year (1948), the first Western opera: Verdi’s La Traviata was performed in Seoul.
This study concerns the bringing together of Korean traditional idioms (in Pansori) and Western musical ideas (harmony, orchestration, etc.) to create what is now known as Chunhyang-jeon Opera. In this regard, the author will present a brief split-analysis of the older style and the more modern musical attributes of the combined style of traditional Korean music and European style opera. It is hoped that this study might provide the basis for a future opera course and guide for both disciplines.
This study will also show that the Pansori and its subsequent operatic treatment has historical, social and artistic elements. Some similarities and differences of both forms were noted here with regard to cultural sensitivities.
While Chunhyang-ga (older form) and Chunhyang-jeon (Hyun’s modern adaptation) have some musical similarities, the latter was not composed based on the former. Chunhyang-ga consists mainly of compound meter (6/8, 9/8, 12/8, 24/8), which is at the heart of Korean traditional music, while Chunhyang-jeon uses simple meter (2/4, 3/4, 4/4).
Identical words are not often used in the two works, but their libretti are of much significance. Chunhyang-ga had been traditionally handed down with Chinese characters, whereas Chunhyang-jeon constituted its libretto with more modern Korean words which were easily understood by the audience.
Pansori have been sung with traditional singing techniques, which demonstrate the flow of the melodic line found in the images of the words (as interpreted and improvised by the solo performer), while in opera, vocal music is primarily from a set of melodic and harmonic techniques.
Korea’s first opera Chunhyang Jeon was composed by Jaemyeong Hyun in 1948. Until that time, most Korean vocal music was sung by a few native traditional artists. Inspired by their work, composer Hyun combined elements from the ancient Pansori (epic poetic forms presented by a solo singer with drum) and Western music techniques to create his opera. Hyun also used the more vernacular Hangeul (Korean alphabet) for his libretto rather than the Chinese usually heard in Korean theatrical presentations. It might be noted that in that same year (1948), the first Western opera: Verdi’s La Traviata was performed in Seoul.
This study concerns the bringing together of Korean traditional idioms (in Pansori) and Western musical ideas (harmony, orchestration, etc.) to create what is now known as Chunhyang-jeon Opera. In this regard, the author will present a brief split-analysis of the older style and the more modern musical attributes of the combined style of traditional Korean music and European style opera. It is hoped that this study might provide the basis for a future opera course and guide for both disciplines.
This study will also show that the Pansori and its subsequent operatic treatment has historical, social and artistic elements. Some similarities and differences of both forms were noted here with regard to cultural sensitivities.
While Chunhyang-ga (older form) and Chunhyang-jeon (Hyun’s modern adaptation) have some musical similarities, the latter was not composed based on the former. Chunhyang-ga consists mainly of compound meter (6/8, 9/8, 12/8, 24/8), which is at the heart of Korean traditional music, while Chunhyang-jeon uses simple meter (2/4, 3/4, 4/4).
Identical words are not often used in the two works, but their libretti are of much significance. Chunhyang-ga had been traditionally handed down with Chinese characters, whereas Chunhyang-jeon constituted its libretto with more modern Korean words which were easily understood by the audience.
Pansori have been sung with traditional singing techniques, which demonstrate the flow of the melodic line found in the images of the words (as interpreted and improvised by the solo performer), while in opera, vocal music is primarily from a set of melodic and harmonic techniques.
ContributorsShin, Jinhee (Author) / Britton, David (Thesis advisor) / Dreyfoos, Dale (Committee member) / Rogers, Rodney (Committee member) / Arizona State University (Publisher)
Created2017
Description
ABSTRACT
This research is focused on technology in the arts, social media, and the opera singer. Topics include recent performance trends, social media, marketing techniques, and creating a successful brand. This paper also focuses on how to leverage social media platforms build a digital persona, and create an engaged audience. The same techniques used by corporations and opera companies for their social media and marketing strategy can be leveraged to increase brand awareness, build a strong network, and may aid in generating new opportunities for the opera singer.
Key Words: Social Media, Opera Singer, Branding, Marketing, Technology
This research is focused on technology in the arts, social media, and the opera singer. Topics include recent performance trends, social media, marketing techniques, and creating a successful brand. This paper also focuses on how to leverage social media platforms build a digital persona, and create an engaged audience. The same techniques used by corporations and opera companies for their social media and marketing strategy can be leveraged to increase brand awareness, build a strong network, and may aid in generating new opportunities for the opera singer.
Key Words: Social Media, Opera Singer, Branding, Marketing, Technology
ContributorsJones, Jennifer E. (D.M.A.) (Author) / Kopta, Anne Elgar (Thesis advisor) / Mills, Robert (Committee member) / Rogers, Rodney (Committee member) / Dreyfoos, Dale (Committee member) / Arizona State University (Publisher)
Created2016