The article discusses the reasons as to why German Leider is very popular with people all over the globe. Leider offers the great beauty of the words and the music combined and should be celebrated as a means of expressing one's most tender feelings.
{"title":"Lehn' Deine Wang' An Meine Wang': Heinrich Heine and Robert Schumann Revisited","authors":"J. Nafisi","doi":"10.1375/AUV.14.1.1","DOIUrl":"https://doi.org/10.1375/AUV.14.1.1","url":null,"abstract":"The article discusses the reasons as to why German Leider is very popular with people all over the globe. Leider offers the great beauty of the words and the music combined and should be celebrated as a means of expressing one's most tender feelings.","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2008-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132785451","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The author discusses the hurdles that conductors may experience when preparing their choir for a performance. He suggests the aspects that should be considered when selecting repertoires for choirs.
作者讨论了指挥家在准备合唱团演出时可能遇到的障碍。他提出了在为合唱团选择曲目时应该考虑的几个方面。
{"title":"Vocology and the Selection of Choral Repertoire","authors":"John Nix","doi":"10.1375/AUV.13.1.36","DOIUrl":"https://doi.org/10.1375/AUV.13.1.36","url":null,"abstract":"The author discusses the hurdles that conductors may experience when preparing their choir for a performance. He suggests the aspects that should be considered when selecting repertoires for choirs.","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2007-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131969278","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article reports on the design and development of a model of learning influenced by sociocultural theories for undergraduate singers. It draws on data collected from reflective journals written by students as well as the findings from a pilot study conducted in 2005 where the aim was to examine the response of students to a changing curriculum in which traditional 'bel canto' singing technique was taught in conjunction with spoken voice class. The participants in the study were undergraduate students studying performance in the Faculty of Creative Arts at the University of Wollongong. This paper reports on some of the themes emerging from the pilot study, which were presented by Nicholls-Gidley and Latukefu at the 7th Voice Symposium of Australia held in September of 2005 and provided the basis for further research by Latukefu into strategies students use to construct learning.
{"title":"The Constructed Voice: A Sociocultural Model of Learning for Undergraduate Singers","authors":"Lotte Latukefu","doi":"10.1375/AUV.13.1.8","DOIUrl":"https://doi.org/10.1375/AUV.13.1.8","url":null,"abstract":"This article reports on the design and development of a model of learning influenced by sociocultural theories for undergraduate singers. It draws on data collected from reflective journals written by students as well as the findings from a pilot study conducted in 2005 where the aim was to examine the response of students to a changing curriculum in which traditional 'bel canto' singing technique was taught in conjunction with spoken voice class. The participants in the study were undergraduate students studying performance in the Faculty of Creative Arts at the University of Wollongong. This paper reports on some of the themes emerging from the pilot study, which were presented by Nicholls-Gidley and Latukefu at the 7th Voice Symposium of Australia held in September of 2005 and provided the basis for further research by Latukefu into strategies students use to construct learning.","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2007-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125431463","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article introduces English speaking singers to the wealth of song repertoire from the Finnish composer Jean Sibelius. Performances of these songs are relatively rare, reflecting the hesitancy of singers to sing in the unfamiliar original texts, as well as the lack of access to the scores, hence an unfamiliarity with the treasures that lie within this canon of work. It is hoped that more singers will be willing to explore these songs, and this article is offered as a guide.
{"title":"The Solo-songs of Jean Sibelius","authors":"R. Keane","doi":"10.1375/AUV.13.1.25","DOIUrl":"https://doi.org/10.1375/AUV.13.1.25","url":null,"abstract":"This article introduces English speaking singers to the wealth of song repertoire from the Finnish composer Jean Sibelius. Performances of these songs are relatively rare, reflecting the hesitancy of singers to sing in the unfamiliar original texts, as well as the lack of access to the scores, hence an unfamiliarity with the treasures that lie within this canon of work. It is hoped that more singers will be willing to explore these songs, and this article is offered as a guide.","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"66 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2007-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113968142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this phenomenological study, I heuristically investigate the use of the computer as a virtual art studio, where digital media is combined with traditional art methods such as painting, drawing, collaging, and sculpture while working with the psychological impact of physical dysfunction of voice. Current literature indicates that digital imagery technology such as digital cameras, scanners, and photo-editing programs has a place in the therapeutic context.
{"title":"Digital Imagery Technology (DIT) and Voice Dysfunction: A Case Study","authors":"Marion McConaghy","doi":"10.1375/AUV.13.1.16","DOIUrl":"https://doi.org/10.1375/AUV.13.1.16","url":null,"abstract":"In this phenomenological study, I heuristically investigate the use of the computer as a virtual art studio, where digital media is combined with traditional art methods such as painting, drawing, collaging, and sculpture while working with the psychological impact of physical dysfunction of voice. Current literature indicates that digital imagery technology such as digital cameras, scanners, and photo-editing programs has a place in the therapeutic context.","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"619 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2007-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115827617","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Book review: The Tongue as a Gateway to Voice, Resonance, Style, and Intelligibility by Angelika Nair","authors":"R. Morris","doi":"10.56307/eqan1667","DOIUrl":"https://doi.org/10.56307/eqan1667","url":null,"abstract":"a review of the book \"The Tongue as a Gateway to Voice, Resonance, Style and Intelligibility\" by Angelika Nair (2021)","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"101 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122083741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Book review: Teaching the Child Singer: Pediatric Pedagogy for Ages 5-13 by Dana Lentini","authors":"J. Park","doi":"10.56307/mrjr2710","DOIUrl":"https://doi.org/10.56307/mrjr2710","url":null,"abstract":"a review of the book \"Teaching the Child Singer: Pediatric pedagogy for ages 5-13\" by Dana Lentini (2021)","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114879676","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
What constitutes “good singing” can be hotly contested amongst singing voice pedagogues, yet little is known about what the general public considers to be “good singing”. Within a program of research on musical identity and singing self-concept, this mixed-methods pilot study considered how members of the public (N = 52) described and evaluated stylistically different versions of a sung melody to test a hypothesis that reality TV singing may be deemed as “good singing”. Participants were exposed to three versions of “Happy Birthday”: 1) amateurs singing “as they would normally sing”; 2) professionals performing a “plain” version; 3) the same professionals singing an embellished version in the style of The Voice reality TV show. Results indicate that both professional versions were considered “better singing” than the amateur singing. While respondents focused on the technical deficiencies for amateurs, descriptions of the professionals concerned style. Stated exemplars of “good singing” were split between the two professional versions—based on sophistication and creativity (“professional: embellished”) or vocal quality (“professional: plain”). While respondents’ preferred version largely matched their chosen exemplar of “good singing”, participants were more likely to sing along with the “amateur” version. Implications for singing voice pedagogy and engagement in singing activities for wellbeing are considered.
{"title":"Descriptions and Evaluations of \"Good Singing\" in the Age of 'The Voice'","authors":"Melissa Forbes, A. Krause, Xanthe Lowe-Brown","doi":"10.56307/vrxq8982","DOIUrl":"https://doi.org/10.56307/vrxq8982","url":null,"abstract":"What constitutes “good singing” can be hotly contested amongst singing voice pedagogues, yet little is known about what the general public considers to be “good singing”. Within a program of research on musical identity and singing self-concept, this mixed-methods pilot study considered how members of the public (N = 52) described and evaluated stylistically different versions of a sung melody to test a hypothesis that reality TV singing may be deemed as “good singing”. Participants were exposed to three versions of “Happy Birthday”: 1) amateurs singing “as they would normally sing”; 2) professionals performing a “plain” version; 3) the same professionals singing an embellished version in the style of The Voice reality TV show. Results indicate that both professional versions were considered “better singing” than the amateur singing. While respondents focused on the technical deficiencies for amateurs, descriptions of the professionals concerned style. Stated exemplars of “good singing” were split between the two professional versions—based on sophistication and creativity (“professional: embellished”) or vocal quality (“professional: plain”). While respondents’ preferred version largely matched their chosen exemplar of “good singing”, participants were more likely to sing along with the “amateur” version. Implications for singing voice pedagogy and engagement in singing activities for wellbeing are considered.","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128262767","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
It is no surprise to those who judge voice competitions that there is often little agreement, even among expert listeners, on many aspects of voice quality. It has been accepted as “the nature of the beast” that much of the assessment of voice quality is highly subjective. Of all the terms that describe the singing voice, “pitch” should be the most objective, as it is the perceptual correlate of fundamental frequency (fo, in this case referring to the frequency of vocal fold vibration), which can be measured objectively. By extension, “intonation” should be a perceptual quality on which singing teachers can agree. This is especially important as pitch accuracy is generally considered by singing teachers, coaches, among others, to be not only the most important factor in judging singing ability and talent, but also the most objective.1 The use of pitch correcting software in popular music recording suggests that pitch can be changed from incorrect to correct by changing the frequency of the sung tone. If pitch can be corrected by a simple click of a mouse, then seemingly intonation is an aspect of voice production that can be either correct or incorrect, and not subject to dispute. If intonation and/or pitch accuracy is a major element in the assessment of singing, then it stands to reason that general agreement, especially among expert listeners, needs to be strong. That is, each listener should perceive a singer’s intonation similarly to every other listener, whether as audience members or expert listeners. Research, however, shows that singing teachers disagree how good the intonation is, at least as much as they disagree about other, more “subjective,” aspects of singing voice quality.2 This presents a conundrum for those of us whose livelihoods include assessment of singing voice quality. If we are trying to bring our teaching in line with evidence-based practice, based on the latest scientific findings, then what shall we do with terms that are part of our day to day jargon, but may become ambiguous in the context of evidence-based practice?
{"title":"The Myth of Intonation as an Objective Measure of Singing Quality","authors":"D. Michael, Marina Gilman","doi":"10.56307/lpqi6120","DOIUrl":"https://doi.org/10.56307/lpqi6120","url":null,"abstract":"It is no surprise to those who judge voice competitions that there is often little agreement, even among expert listeners, on many aspects of voice quality. It has been accepted as “the nature of the beast” that much of the assessment of voice quality is highly subjective. Of all the terms that describe the singing voice, “pitch” should be the most objective, as it is the perceptual correlate of fundamental frequency (fo, in this case referring to the frequency of vocal fold vibration), which can be measured objectively. By extension, “intonation” should be a perceptual quality on which singing teachers can agree. This is especially important as pitch accuracy is generally considered by singing teachers, coaches, among others, to be not only the most important factor in judging singing ability and talent, but also the most objective.1 The use of pitch correcting software in popular music recording suggests that pitch can be changed from incorrect to correct by changing the frequency of the sung tone. If pitch can be corrected by a simple click of a mouse, then seemingly intonation is an aspect of voice production that can be either correct or incorrect, and not subject to dispute. If intonation and/or pitch accuracy is a major element in the assessment of singing, then it stands to reason that general agreement, especially among expert listeners, needs to be strong. That is, each listener should perceive a singer’s intonation similarly to every other listener, whether as audience members or expert listeners. Research, however, shows that singing teachers disagree how good the intonation is, at least as much as they disagree about other, more “subjective,” aspects of singing voice quality.2 This presents a conundrum for those of us whose livelihoods include assessment of singing voice quality. If we are trying to bring our teaching in line with evidence-based practice, based on the latest scientific findings, then what shall we do with terms that are part of our day to day jargon, but may become ambiguous in the context of evidence-based practice?","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121545374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Body Mapping (BM) is a fast-growing discipline, the reach of which increases with the appearance of every new title, dedicated to the players of yet another specific musical instrument. While Barbara Conable is credited as the founder of the Association for Body Mapping Education (ABME), and William Conable as the “discoverer” of BM, the story is more complex than that. The origins of Body Mapping lie in the clarity of one particular teacher of the Alexander Technique (AT), Marjorie Barstow. However, Barstow was wary of the potential dangers of BM stripped of its Alexander underpinnings and warned against its development as a discrete discipline. This article examines the origins of BM and compares it with the Alexander Technique, particularly as taught by Barstow. In particular, the author reiterates and expands Barstow’s warning of its potential consequences when taught to singers without the underpinnings of Alexander’s principles.
{"title":"The Body Mapping Revolution: Its origins, consequences and limitations","authors":"A. Cole","doi":"10.56307/htrw3642","DOIUrl":"https://doi.org/10.56307/htrw3642","url":null,"abstract":"Body Mapping (BM) is a fast-growing discipline, the reach of which increases with the appearance of every new title, dedicated to the players of yet another specific musical instrument. While Barbara Conable is credited as the founder of the Association for Body Mapping Education (ABME), and William Conable as the “discoverer” of BM, the story is more complex than that. The origins of Body Mapping lie in the clarity of one particular teacher of the Alexander Technique (AT), Marjorie Barstow. However, Barstow was wary of the potential dangers of BM stripped of its Alexander underpinnings and warned against its development as a discrete discipline. This article examines the origins of BM and compares it with the Alexander Technique, particularly as taught by Barstow. In particular, the author reiterates and expands Barstow’s warning of its potential consequences when taught to singers without the underpinnings of Alexander’s principles.","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133406790","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：