A Study on Non-Contact Vocal Instruction

2021 ◽  
Vol 15 (1) ◽  
pp. 27-38
Author(s):  
Ji-Hyun Lim ◽  
Kyung-Won Min
Keyword(s):  
Vocal Instruction

Julius Eichberg: String and Vocal Instruction in Nineteenth-Century Boston

1996 ◽  
Vol 44 (2) ◽  
pp. 147-159
Author(s):  
Sondra Wieland Howe
Keyword(s):  
High School ◽  
Public Schools ◽  
Music Education ◽  
School System ◽  
Vocal Music ◽  
The United States ◽  
String Education ◽  
Choral Works ◽  
Boston Public Schools ◽  
Vocal Instruction

Julius Eichberg (1824-1893) made valuable contributions to the development of music education through his string and vocal instruction in Boston. Educated in Europe, Eichberg was a violin professor in Geneva before immigrating to the United States in 1857. He directed the Boston Museum Concerts 1859-1866 and composed four operas. In 1867, he founded the Boston Conservatory, developed its string department, and published string method books and chamber music. In the Boston public schools, Eichberg taught high school vocal music, supervised music for the entire school system, and taught teacher-training courses. Boston s school system became a model for other school systems. The annual Music Festivals in Boston, with Eichberg conducting choruses and orchestras, brought the schools positive publicity. Eichberg also composed choral works for his school choruses and edited music textbooks. Eichbergs work in string education and high school choral music laid foundations for programs in the twentieth century.

The Young Singer

2012 ◽  
pp. 593-609
Author(s):  
Kenneth H. Phillips ◽  
Jenevora Williams ◽  
Robert Edwin
Keyword(s):  
Young People ◽  
Educational Outcomes ◽  
Music Teachers ◽  
Vocal Music ◽  
Specific Information ◽  
Singing Voice ◽  
Learned Behavior ◽  
Formal Instruction ◽  
Vocal Instruction ◽  
Aesthetic Awareness

Development of the singing voice is especially important for the young. Those who learn to sing early reap a lifetime of benefits, which, in addition to developing aesthetic awareness, include personal, social, and educational outcomes. Singing is a skill that requires disciplined study if the singer is to develop his/her potential. While vocal music teachers agree that children can and should learn to sing, some have considered it inappropriate to teach singing to children via formal instruction. Fortunately, this opinion is changing. The authors agree that structured singing is a learned behavior and formal vocal instruction is appropriate for most young people. This article presents specific information for developing child and adolescent singers.

Effects of Psychomotor Instruction on Elementary General Music Students' Singing Performance

1997 ◽  
Vol 45 (2) ◽  
pp. 185-196 ◽  
Author(s):  
Kenneth H. Phillips ◽  
Randall E. Aitchison
Keyword(s):  
Vital Capacity ◽  
Peak Flow ◽  
Music Students ◽  
Control Group ◽  
General Music ◽  
Control Group Design ◽  
Pitch Accuracy ◽  
Fifth Grade Students ◽  
Vocal Instruction ◽  
Singing Performance

This study is an investigation of the effects of a year-long program of vocal instruction I on measures of respiration (vital capacity, peak flow, duration) and singing performance (high pitch, low pitch, total range, pitch accuracy) among general music students in Grades 4, 5, and 6 (n = 269). A posttest-only control-group design was used with intact classes randomly assigned to either experimental or control conditions. Results of 2 ? 2 ? 3 factorial analyses (MANOVA and ANOVA) were as follows: (1) breath support (peak flow) may be improved with instruction; (2) vital capacity seems to be affected more by age than by instruction; (3) breath control (duration) may be improved with instruction, especially among fifth-grade students; (4) highest pitch of vocal range may be improved with instruction; (5) lowest pitch of vocal range may be improved with instruction, especially for boys; (6) total vocal range may be improved with instruction, especially for boys; (7) pitch accuracy seems to be greater for girl than for boys, and boys pitch accuracy may not be helped with vocal instruction when there is a reluctance to sing in the treble range.

Singing and the body: body-focused and concept-focused vocal instruction

2021 ◽  
Vol 7 (s4) ◽  
Author(s):  
Beatrice Szczepek Reed
Keyword(s):  
Musical Instrument ◽  
The Body ◽  
Learning Goals ◽  
Emotional States ◽  
Physical Processes ◽  
Musical Concepts ◽  
Vocal Instruction ◽  
Physical Objects ◽  
Physical Skills ◽  
Do So

Abstract The body is the singer’s musical instrument, and therefore it is impossible to teach singing without the instructor involving their own and the learner’s body in the process of instruction. The teacher’s challenge is to communicate physical skills but also artistic, musical and vocal concepts. The body is centrally involved in the performance of both; however, an analysis of vocal instruction shows that teachers differentiate between learning goals, or ‘learnables’, which they treat as primarily embodied (body-focused instruction) and learnables they treat as primarily conceptualised (concept-focused instruction). When teaching learnables as embodied skills, instructors foreground the body. They do so by referring to the body explicitly and using their own body for demonstrations. They also depict internal physical processes, manipulate the student’s body through touch, share the student’s embodied stance, make use of physical objects as tools for practicing skills and orient to the student’s body as visually assessable. In concept-focused instruction, teachers foreground mental engagement with concepts rather than the embodied aspects of their execution, even though embodied skills are required to perform the learnables in question. They do so by referencing concepts explicitly, demonstrating how the piece should be sung and physically depicting emotional states and musical concepts.

Lowell Mason's The Song Garden (1864–66): Its Background, Content, and Comparison to a Twentieth-Century Series

2003 ◽  
Vol 51 (3) ◽  
pp. 231-244
Author(s):  
Cynthia M. Colwell ◽  
George N. Heller
Keyword(s):  
Twentieth Century ◽  
Vocal Music ◽  
Series Books ◽  
Vocal Instruction ◽  
Similarities And Differences ◽  
Reading Music ◽  
Background Content

Lowell Mason's The Song Garden (1864–66) is a progressively arranged set of three volumes that may be regarded as the first music series books for schoolchildren. According to the publisher, the series is a “systematic, intelligible, and thorough course of teaching vocal music” (p. ii). Following Pestalozzian principles, Mason believed that students should first learn by rote before actually reading music. Following the singing-school tradition, each book began with a strong theoretical introduction in addition to singing exercises and literature for practice. A comparison with Audrey Snyder's The Sight-Singer (1993–94) reveals both similarities and differences in their approaches to vocal instruction.

The New Franco-Italian School of Singing

2021 ◽  
pp. 28-58
Author(s):  
Sean M. Parr
Keyword(s):  
Nineteenth Century ◽  
Vocal Pedagogy ◽  
New School ◽  
Italian School ◽  
Musical Scores ◽  
Vocal Instruction ◽  
Paris Conservatoire ◽  
Vocal Categories

The nineteenth-century web of teachers, singers, and teacher-singers suggests that coloratura can be examined from the perspective of treatises produced by vocal pedagogues. In addition to vocal instruction, the treatises provide clues as to interpretation, by recommending and describing vocal articulations and styles corresponding to melodic styles and role characterizations. This chapter examines pedagogical treatises in conjunction with musical scores and the careers of individual singers, attempting to trace ideas of coloratura articulation and florid-lyrical expression. The Paris Conservatoire endorsed certain teacher-singer lineages and sought to merge French and Italian traditions into a new school of singing led by three pedagogues: Laure Cinti-Damoreau, Gilbert-Louis Duprez, and Manuel Garcia II. The study reveals a bifurcation between singing styles that carries over from vocal pedagogy to the operatic stage. This division between agile, florid singing and declamatory, sustained singing heralded our modern, more familiar vocal categories, such as the coloratura soprano.

Effects of Two Antecedent Conditions on Vocalization Frequency of Severely Retarded Children

1984 ◽  
Vol 49 (4) ◽  
pp. 349-359 ◽  
Author(s):  
James W. Halle ◽  
Frances M. Hunt ◽  
Janet E. Bjorenson
Keyword(s):  
Empirical Data ◽  
Optimal Conditions ◽  
Alternating Treatments Design ◽  
Antecedent Conditions ◽  
Vocal Instruction ◽  
Silence Condition

Rather than concentrating exclusively on consequences in early vocal instruction, the manipulation of antecedent conditions has been recommended. Few empirical data have been collected on the effect of different antecedent events. Therefore, a series of three experiments was conducted with three severely retarded children to investigate the vocalization-producing potential of two antecedent conditions: adult talk, a commonly cited antecedent, and adult silence. The conditions were evaluated using a modified alternating treatments design. In Experiment 1, 5 min of continuous adult talk was alternated with 5 min of adult silence; the results indicated that adult silence occasioned more vocalizations than did adult talk. In Experiment 2, a mixed (alternating 30- s periods of silence and talk) condition was compared to a silence condition; again the results indicated a higher frequency of vocalization during the silence condition. In Experiment 3, a modified talk (a question or comment presented every 10 s) condition was compared to a silence condition; the results indicated that the two conditions occasioned similar vocalization frequencies for two children, and the questions/comments condition occasioned more vocalizations for one child. In addition to studying optimal conditions for adult talk, the present investigation provides a methodology for deriving empirical data on the effects of differing antecedent conditions on vocalization frequencies.

MYSTERY IN PARIS, THE GERMAN CONNECTION AND MORE: THE BÉRARD–BLANCHET CONTROVERSY REVISITED

2005 ◽  
Vol 2 (1) ◽  
pp. 91-112
Author(s):  
BEVERLY JEROLD
Keyword(s):  
Source Material ◽  
Paris Opera ◽  
Original Meaning ◽  
Vocal Instruction ◽  
Madame De Pompadour ◽  
New Evidence

In 1755 a small vocal instruction book dedicated to the King’s mistress, Madame de Pompadour, was published in Paris under the name of [Jean-Antoine] Bérard. His role in this work was challenged a year later by l’abbé Jean Blanchet, who published a greatly enlarged version of Bérard’s book, claiming that he was its true author. Up to now, the lack of definitive source material has prevented a resolution of this question. New evidence clarifies its puzzling aspects, enabling us to reach a plausible conclusion. Investigating this matter leads also to insights in other areas, including the original meaning of the term amateur, the first known presentation of diaphragm breathing in print, the quality of singing at the Paris Opéra, contemporary views on the overuse of embellishment and audience behaviour.

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