Matching Items (20)
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- All Subjects: Theatre
- All Subjects: Voice
- Creators: Yatso, Toby
- 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 purpose of this study is to examine and explore Hatha Yoga and how it relates to a practice consisting of singer-friendly yoga postures, how these postures may benefit the singer's mental and physical health, and how these techniques relate to designated research. The study also investigates yogic breathing techniques and how these exercises relate to selected research. Lastly, the paper examines how the voice student and professional singer may alleviate anxiety by introducing a practice of daily yogic mediation of mudra and mantra techniques, and how voice teachers may better understand and assist their students with stage performance anxiety.
ContributorsHutton, Christopher (Singer) (Author) / Rogers, Rodney (Thesis advisor) / Doan, Jerry (Committee member) / Dreyfoos, Dale (Committee member) / Kopta, Anne (Committee member) / May, Judy (Committee member) / Arizona State University (Publisher)
Created2014
Description
How do trees (live and representational) participate in our theatrical and performed encounters with them? If trees are not inherently scenic, as their treatment in language and on stage might reinforce, how can they be retheorized as agents and participants in dramatic encounters? Using Diana Taylor’s theory of scenario to understand embodied encounters, I propose an alternative approach to understanding environmental beings (like trees) called “synercentrism,” which takes as its central tenet the active, if not 100 percent “willed,” participation of both human and non-human beings. I begin by mapping a continuum from objecthood to agenthood to trace the different ways that plants and trees are used, represented, and included in our encounters. The continuum provides a framework that more comprehensively unpacks human-plant relationships.
My dissertation addresses the rich variety of representations and embodiments by focusing on three central chapter topics: the history of tree representation and inclusion in dramatic literature and performance; interactions with living trees in gardens, parks, and other dramatic arenas; and individual plays and plants that have a particularly strong grasp on cultural imaginaries. Each chapter is followed by one or more corresponding case studies (the first chapter is followed by case studies on plants in musical theatre; the second on performing plants and collaborative performance events; and the last on the dance drama Memory Rings and the Methuselah tree). I conclude with a discussion of how the framework of synercentrism can aid in the disruption of terministic screens and facilitate reciprocal relationships with trees and other environmental agents.
My dissertation addresses the rich variety of representations and embodiments by focusing on three central chapter topics: the history of tree representation and inclusion in dramatic literature and performance; interactions with living trees in gardens, parks, and other dramatic arenas; and individual plays and plants that have a particularly strong grasp on cultural imaginaries. Each chapter is followed by one or more corresponding case studies (the first chapter is followed by case studies on plants in musical theatre; the second on performing plants and collaborative performance events; and the last on the dance drama Memory Rings and the Methuselah tree). I conclude with a discussion of how the framework of synercentrism can aid in the disruption of terministic screens and facilitate reciprocal relationships with trees and other environmental agents.
ContributorsDe Roover, Megan Laura (Author) / Underiner, Tamara L. (Thesis advisor) / Hughes, Erika (Committee member) / Goggin, Peter (Committee member) / Arizona State University (Publisher)
Created2018
Description
This research study examines the interaction between youth queer narratives and young people through examining my core research question, How do young people engage, interpret, and respond to queer narratives? Applying a feminist narrative analysis to examine the qualitative data, I propose a methodological research shift where the voices of youth are valued as content experts; an artistic shift that moves content-creation away from a top down traditional media model and towards a youth-centered new media approach for art making; an aesthetic shift away from over-used stereotypes, tropes, and stale representations and instead innovate to represent intersectional, spectrum-based diversity of the LGBTQ+ experience.
This qualitative research study utilizes questionnaires, focus groups, and case study interviews, to engage adolescent perceptions of queer narratives. The youth, ranging in ages from 15 to 18 years old and living in the Phoenix, Arizona metro area, explore and examine LGBTQ+ themes, characters, plots in traditional and new media.
My dissertation examines youth interactions with queer narratives through three chapters. These address themes of: character, identity, and representation; plot and the search for accuracy; and the symbiotic exchange between narrative and community. Throughout the dissertation, young people analyze narratives, reflect on their own lives, and envision the future of youth queer narrative. The youth describe a move away from traditional media and towards new media platforms with user-created content, social network interaction, and the sharing of common experiences with peers. Finally, I examine the implications of both the research findings and the methodology on the future of youth-engaged qualitative research, as well as the performing arts.
This qualitative research study utilizes questionnaires, focus groups, and case study interviews, to engage adolescent perceptions of queer narratives. The youth, ranging in ages from 15 to 18 years old and living in the Phoenix, Arizona metro area, explore and examine LGBTQ+ themes, characters, plots in traditional and new media.
My dissertation examines youth interactions with queer narratives through three chapters. These address themes of: character, identity, and representation; plot and the search for accuracy; and the symbiotic exchange between narrative and community. Throughout the dissertation, young people analyze narratives, reflect on their own lives, and envision the future of youth queer narrative. The youth describe a move away from traditional media and towards new media platforms with user-created content, social network interaction, and the sharing of common experiences with peers. Finally, I examine the implications of both the research findings and the methodology on the future of youth-engaged qualitative research, as well as the performing arts.
ContributorsWaldron, Andrew (Author) / Etheridge Woodson, Stephani (Thesis advisor) / Hunt, Kristin (Thesis advisor) / Saldana, Johnny (Committee member) / Hughes, Erika (Committee member) / Arizona State University (Publisher)
Created2018
Description
Only in the world of acting can an individual be denied a job simply on the basis of their appearance, and in my thesis, I sought to explore alternatives to this through the concept of nontraditional casting and casting against "type", which included the presentation of a full-length production of the musical "Once on this Island" which I attempted to cast based on vocal quality and skill alone rather than taking physical characteristics into account. I researched the history and implementation of nontraditional casting, both in regards to race and other factors such as gender, socio-economic status, and disability. I also considered the legal and intellectual property challenges that nontraditional casting can pose. I concluded from this research that while nontraditional casting is only one solution to the problem, it still has a great deal of potential to create diversity in theater. For my own show, I held the initial auditions via audio recording, though the callback auditions were held in person so that I and my crew could appraise dance and acting ability. Though there were many challenges with our cast after this initial round of auditions, we were able to solidify our cast and continue through the rehearsal process. All things said, the show was very successful. It is my hope that those who were a part of the show, either as part of the production or the audience, are inspired to challenge the concept of typecasting in contemporary theater.
ContributorsBriggs, Timothy James (Author) / Yatso, Toby (Thesis director) / Dreyfoos, Dale (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor)
Created2014-12
Description
We endeavored to begin the process of writing a musical. We composed a total of three songs, 30 pages of script (non-consecutive) with an outline summarizing the remaining uncompleted pages, seven character summaries/analyses, and a reflection on the process and next steps, and presented them in a “Producer Pitch” format to our readers. In our paper we discuss the birth of inspiration for Girls And Boys—namely philosophical conflicts about the role of biology vs. society in gender identity and real, local events of public districts reevaluating their sex education program—as well as the challenges we experienced during the process and our intentions for continued work towards the completion of the material. In our written script we span the opening of the show to the climax through sporadically completed scenes, with the outline serving to fill in the blanks. In our music, we composed three pieces—a solo ballad, an ensemble number, and an emotional trio—that we converted into an audio file format, and performed live for a small audience. Ultimately, we seek to use the elevated drama of a musical to convince the audience that empathy is the truest, ageless, and genderless expression of humanity.
ContributorsDoering, Emilie (Co-author) / Moylan, Megan (Co-author) / Yatso, Toby (Thesis director) / Mills, Robert (Committee member) / Harper, Robert (Committee member) / Barrett, The Honors College (Contributor) / School of Music (Contributor) / School of Politics and Global Studies (Contributor)
Created2015-05
Description
A student-run theatre company would give students more opportunities to perform. as well as opportunities to direct, design, and produce something that is not usually available to us. The main goal of the topic is to create a student-run theatre company that would be able to support three to four minimal, low budget productions each year that are directed, designed, and performed by the students. These productions could be works that are new or out of the mainstream, one-act operas or musicals, works written or composed by our own students, or even standard repertoire. Productions could be minimal, with the focus being on direction and performances, or fully executed with lighting, sets, and costumes designed by the students. Whatever the format, the goal is to provide students with more opportunities in music theatre and opera. There are several components to this project. The first component is forming the student organization \u2014 the theatre company. While forming a student theatre company allows for more creativity and room to try different things, we must also figure out how to operate within the limits of a campus club. The second component is producing a show. To get a taste what our club would eventually be doing, the committee is essentially' producing a show with the guidance of Lyric Opera Theatre faculty. The third component is writing the actual thesis and preparing for my defense. Because this project is not a traditional research project, the end result will be more than a thesis paper. I hope to be able to show that Basement Collaborative has developed into an organization that will be able to sustain past my time here at ASU.
ContributorsZheng, Shuwen (Author) / Reber, William (Thesis director) / Dreyfoos, Dale (Committee member) / Harper, Robert (Committee member) / Barrett, The Honors College (Contributor)
Created2015-05
Description
In modern music and theater education, there is a lack of basic understanding for the "rhythm" aspect in artistic performance. Through my upbringing in musical theater and the a cappella music world in my community, I realized there was an opportunity to fill the gap with teaching beatboxing. By applying vocal percussion to a theater or music curriculum, it would provide a new, creative outlet for young artists by allowing them to explore their capabilities in artistic performance as well as help them flex new muscles for diction and expression training. I created a vocal percussion "language", a basic notation system that would help students learn and retain their beatboxing training through an extra layer of communication and memorization. I conducted a two day Vocal Percussion Seminar where artists could come and learn about the history and origins of beatboxing, the basic sounds in beatboxing, proper warm-ups for building an individual's skills, how to write and practice vocal percussion notation, and practice vocal percussion performance with beatboxing technology. I created two worksheets as visual aids the workshop: A "Sounds of Beatboxing" worksheet identifying where certain beatboxing sounds occur in the mouth and a "Vocal Percussion Notation" worksheet that can be used as a visual aid for crafting and practicing beatboxing according to the notation guidelines. The intention of this seminar is to be a "Phase One", a version that can be updated and changed for future evolution in education styles and beatboxing knowledge. Despite challenges in attendance and circumstances, "Phase One" of the seminar was a success. In my final paper, I discuss my inspiration for the seminar, the rise of beatboxing's presence in theater, the trends of language and rhythm in artistic performance, the tools behind beatboxing, the application of the International Phonetic Alphabet and Knight-Thompson Speechwork, the workshop's development process, the results of the first phase of the seminar, my plan of action for the seminar's future. Everyone has the tools to generate a powerful and impactful performance, but it is how you use the tools to craft your final product.
ContributorsRhiner, Jennie Lynn (Author) / Yatso, Toby (Thesis director) / Espinosa, Micha (Committee member) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2017-05
Description
This thesis explores the various reasons that Broadway musicals fail, or "flop". It goes into detail on several musicals of different genres, and explains what their shortcomings were, whether it be a less-than-perfect book, a weak score, or a production team that was not experienced in the skills that it takes to put together a musical. It discusses how long the shows ran for, or if they ever made it into a Broadway house. It looks at what the audience reception was like for each show, and whether the shows were a success with the tough critics of Broadway. In addition to this, I have recorded several of my peers performing songs from the musicals I have discussed in the written portion of this thesis. This helps to educate an audience on what it would have been like for one of the flop's real performances. The videos also do a wonderful job of communicating what the show sounds like, and how it can make an audience feel or react. Lastly, it gives more insight into why the musicals they are from failed to thrive in front of a Broadway audience. Through my research, I have discovered that creating a musical is possibly one of the most difficult feats a team of creative people can accomplish. There are countless reasons for failure in these shows, but overall, I feel that every failure had something to offer, and because of that, are surely worth celebrating.
ContributorsUrias-Ramonett, Sedona Lee (Author) / Yatso, Toby (Thesis director) / Dreyfoos, Dale (Committee member) / W.P. Carey School of Business (Contributor) / School of Music (Contributor) / Barrett, The Honors College (Contributor)
Created2018-05