Matching Items (7)
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- All Subjects: Voice
- Creators: DeMaris, Amanda
- Creators: FitzPatrick, Carole
- Creators: Chin, Michelle
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
Description
Everyone deserves the chance to explore their voice as an expression of individuality and musical fulfillment. There are many considerations for modern voice teachers who desire to create accessible and inclusive paths to vocal study. Inspired by interactions with prospective and beginning voice students in both individual and group class settings, this document examines several of the interests and perceptions that have been most frequently expressed by singers in my studio and classrooms. The application of both student-centered and community-centered approaches within varied learning environments may better meet the needs of diverse groups of singers and welcome more amateur musicians and community music makers as prospective voice students. Confronting and addressing potentially discouraging perceptions may empower more singers to pursue vocal study. Such perceptions include feelings of unworthiness, exposure to standards of unattainable perfection promoted by the use of voice-altering technology, and lack of perceived talent. With these considerations in mind, this study aims to facilitate the creation of a concise basic resource that will benefit the self-guided singer as well as voice teachers who work in individual and classroom settings. This document includes discussions on singing as an aspect of individual identity and community, various pedagogical models of singing instruction, and the impact of technology on the understanding of vocal function. A literature review examines the relevance and effectiveness of the resource material that is frequently used to guide beginning singers. Included are the survey results of “Individual Singer and Teacher Perspectives of Vocal Study,” which gathered perspectives on various topics, such as the use of beginner resource texts, singers’ feelings on talent and worthiness, the use of gender-inclusive techniques in the vocal studio, and the incorporation of somatic practices to vocal study. When provided with a variety of resources, voice teachers can be effective and nurturing guides on every singer’s path to vocal discovery and artistic musical expression. The ultimate goal of this study is to incorporate relevant research on pedagogical techniques and philosophies and the survey results into the design of such a resource—an inclusive and accessible eBook.
ContributorsBlair, Kirsten Ann (Author) / Weiss, Stephanie (Thesis advisor) / DeMaris, Amanda (Committee member) / Knowles, Kristina (Committee member) / Arizona State University (Publisher)
Created2022
Description
Tales from the Amusement Park is a collection of songs in the musical theatre style with music and lyrics by Matt Villar. The song cycle illustrates a series of vignettes, with each song featuring a different archetypal character (or group thereof) as they navigate a day in a popular amusement park. The project is written for piano and voices, and is most-suited to twelve or fewer voices. The debut performance occurred on March 26 in the Evelyn Smith Music Theatre, and featured twelve singers and one pianist. The cycle aims to connect the audience through the demonstration of "human moments" which are widely relatable, while also introducing them to unique and interesting characters.
ContributorsVillar, Matthew (Author) / DeMaris, Brian (Thesis director) / Chin, Michelle (Committee member) / Yatso, Toby (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2023-05
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
Even in the most despondent situations, the arts find a way to flourish. This research document examines the vocal music that Viktor Ullmann composed in the concentration camp-ghetto of Theresienstadt in German-occupied Czechoslovakia, and the notable aspects of his compositional writing style. Although his opera Der Kaiser von Atlantis has been performed globally, the remainder of his oeuvre has rarely been recorded or performed. Singers often shy away from twentieth-century composers such as Ullmann, with claims that the music is not lyrical or relatable. Perhaps the irregularity of the meter, rhythms, or intervals seem too daunting for many to consider attempting a performance. With Confined, But Not Silenced: Vocal Music of Viktor Ullmann from the Theresienstadt Ghetto, I hope to open the door to music that is both accessible and uniquely beautiful. Not intended as a performance guide, this document aims instead at unearthing the appeal of music that is often perceived as unusual and difficult to perform through analysis that emphasizes relatable aspects of the compositions. By exposing colleagues to relatable music by a composer such as Ullmann, that has not normally been integrated in the canon, the boundaries of standard vocal repertoire can be expanded to include unconventional contemporary compositions. In addition to highlighting specific musical examples, Confined, But Not Silenced focuses on music’s positive effects for World War II prisoners in Theresienstadt.
ContributorsGoglia, Adrienne Ruth (Author) / FitzPatrick, Carole (Thesis advisor) / Feisst, Sabine (Committee member) / Ryan, Russell (Committee member) / Arizona State University (Publisher)
Created2018
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
For my thesis I chose to complete a creative project. This project was to start my very own vocal studio as a vocal instructor. I began by researching different business components, such as, policies, contracts, pricing, websites, etc. I then used this research to form my own policies, contracts and social pages. I also took a survey of vocal students at ASU, with IRB approval, that covered what they have liked or disliked bout past and urgent vocal lessons, any advice they had fr me, and different singing techniques that they found to be helpful. After completing this I recruited students and began teaching. Half way through teaching I surveyed my sunsets, with IRB approval to find out what they enjoyed or disliked about lessons and then repeated this survey at the end to see if improvement was made. I followed this up with a survey and a summary of everything learned and discussed.
ContributorsMcallister, Marisa (Author) / Weiss, Stephanie (Thesis director) / DeMaris, Amanda (Committee member) / Barrett, The Honors College (Contributor) / School of Music, Dance and Theatre (Contributor)
Created2021-12