Vocal Pedagogy Research Articles

Investigation Methods for Vocal Onset-A Historical Perspective.

The topic of phonation onset gestures is of great interest to singers, acousticians, and voice physiologists alike. The vocal pedagogue and voice researcher Manuel Garcia, in the mid-19th century, first coined the term "coup de la glotte". Given that Garcia defined the process as "a precise articulation of the glottis that leads to a precise and clean tone attack", the term can certainly be linked to the concept of "vocal onset" as we understand it today. However, Garcia did not, by any means, have the technical measures at his disposal to investigate this phenomenon. In order to better understand modern ways of investigating vocal onset-and the limitations that still exist-it seems worthwhile to approach the subject from a historical perspective. High-speed video laryngoscopy (HSV) can be regarded as the gold standard among today's examination methods. Nonetheless, it still does not allow the three-dimensionality of vocal fold vibrations to be examined as it relates to vocal onset. Clearly, measuring methods in voice physiology have developed fundamentally since Garcia's time. This offers grounds for hope that the still unanswered questions around the phenomenon of vocal onset will be resolved in the near future. One promising approach could be to develop ultra-fast three-dimensional MRI further.

The state of formation of vocal-pedagogical culture among future music teachers

The article analyzes the level of formation of vocal pedagogical culture among future music teachers. The formation of a vocal pedagogical culture is an important task that helps them effectively train and educate students in the field of vocal art. There is a problem in the education of students – a decrease in the level of artistic and aesthetic needs. Most students prefer to listen to samples of low-quality mass youth music that does not meet the criteria of artistry. One of the reasons for determining the unformed musical and aesthetic taste of the younger generation is the lack of information about artistic examples of vocal culture and domestic and foreign performance. In this context, special attention should be paid to the training of vocational education specialists who are capable of creating an alternative to pop culture, preserving and enhancing the best traditions of professional musical art. To solve this problem, it is necessary to obtain special theoretical knowledge that will contribute to the development of the performing culture of the future music teacher. In the framework of our research, the concept of vocal pedagogical culture is considered as a certain integrative quality of a person, which includes a value attitude towards the heritage of humanity in the field of various types of singing activities, a high level of professional abilities (in the field of vocal pedagogy), a high vocal and performing level, as well as creative component in vocal and pedagogical skills.

The musical-creative and pedagogical activity of Solomiya Krushelnytska: contribution to the development of Ukrainian music education

This article examines the musical-creative and pedagogical activity of the prominent Ukrainian opera singer Solomiya Krushelnytska (1872-1952) and her contribution to developing Ukrainian music education in the first half of the 20th century. Utilising theoretical approaches to studying personality within the cultural-historical context, we explore Krushelnytska's life path as an example of combining artistic activity and pedagogical practice. The research analyses biographical materials, students' memoirs, and critical reviews of the singer's performances. The results show that Krushelnytska significantly contributed to popularising Ukrainian vocal art internationally and played an essential role in developing vocal pedagogy in Ukraine. Her pedagogical principles, grounded in her personal experience and methods of the Italian vocal school, promoted the formation of new generations of Ukrainian opera performers.

CCM in the choral classroom: Pedagogical practices of two high school music educators

This study aims to enrich the discourse on integrating contemporary commercial music (CCM) genres into vocal music education. Despite existing methodologies by vocal pedagogues, there is a pressing need for a formalized CCM pedagogy. Developing such a pedagogy requires understanding and possibly drawing inspiration from the pedagogical practices and philosophical beliefs of current vocal music educators teaching these styles. To delve deeper, the author conducted a qualitative case study with two suburban high school music educators proficient in CCM vocal techniques. Each participant underwent a 30- to 40-minute semi-structured interview and an observed rehearsal, and provided course materials. Analysis revealed key themes: Caroline’s motivation, teaching techniques and community response; and Matt’s musical background, motivation, beliefs, teaching practices and community response. Despite contextual differences, both shared musical backgrounds and positive community feedback. These findings offer insights for vocal music educators and teacher education programmes.

Pedagogical considerations: Facilitating agency in the vocal recording of early career singer-songwriters

Audio recording is a much anticipated and integral component in the career trajectories of contemporary singers. This article discusses research undertaken through three in-depth case studies, each of which focused on the recording of original songs by early career singer-songwriters. The research examined the ways that recording techniques, associated technologies and studio interactions affect vocal performance during the recording processes. Participants were purposively sampled for their early career interest in songwriting and recording. The findings identified specific educational considerations relevant to those involved in vocal pedagogy, and in artist training and development. The outcomes detail pedagogical parameters and features designed to facilitate agency in the recording of contemporary vocalists.

Modern vocal pedagogy: Investigating a potential curricular framework for training popular music singing teachers

This study explores the content and pertinence of a curricular framework for training popular music (PM) singing teachers. The author conducted three extensive literature review studies over two years via an action research framework to investigate common areas of interest for potential pedagogical strategy. She developed a draft curricular topic framework, incorporating five PM-specific areas: vocal health and hygiene, PM stylistic advice, microphones/audio technology, resonance and breathing technique. Five international PM voice teaching representatives took part in the research as focus group participants and provided feedback on the curriculum content. Data from this feedback were analysed in an iterative cycle process and adjustments suggested. Findings from this study indicate that such a curriculum would be both necessary and timely. Suggestions were made to amend some elements and to place greater emphasis on aesthetic artistry, cultural context and emotional intent.

Vocal Pedagogues Training Dysphonic Voices: Treatment Seeking Approaches and Practices

ObjectiveThis study examined the practices of current professional voice teachers' management of voice disorders. Type of StudySurvey. MethodsAn online survey was developed and made available to vocal educators who had membership in organizations within the field of voice. Respondents rated their comfort with management of voice disorders, criteria for accepting a dysphonic student, and their approach within the multi-disciplinary environment. ResultsOf 786 responses from professional vocal educators, 48% had worked with a vocalist recovering from dysphonia, vocal surgery, or a vocal pathology. Two thirds reported management of nodules, polyps, or cysts. The majority of respondents working with injured voices had advanced degrees in vocal performance, but few had cross training as an SLP. Pedagogues focused on breathing strategies while SLP pedagogues focused on resonance and reduction of phonotrauma. Pedagogues sought information on voice science and medicine from scholarly journals, attending conferences, and medical professionals. ConclusionsVocal pedagogues were interested members of the interdisciplinary team with a desire to seek knowledge beyond their initial career training, even though additional continuing education or licensure is not mandated for vocal educators. Findings show a need for vocal degree programs to include anatomy and physiology and multidisciplinary management of voice disorders.

Аксиологические основы современного этновокального образования

The problems of modern ethno-vocal education considered in the article are related to its axiological founda-tions, as well as to the value potential of folk vocal pedagogy and the use of its principles and methods in mod-ern pedagogical practice. Based on the author’s own scientific research of modern authentic performance, the developed innovative method, techniques of formation of a modern carrier of ethno-vocal culture, capable of transmitting culture through singing activity in the cultural, pedagogical and living environment is revealed. The aim of this work is to substantiate the author’s proposed axiological model of modern ethno-vocal education, which contributes both to the formation and development of the ethno-vocal culture of the individual and to the preservation and development of society’s ethno-vocal culture. The article outlines the ways of activating im-plicit knowledge for the accumulation of singing experience through a specially developed by the author set of exercises and vocal work on mastering specific folk-singing techniques in practical educational disciplines: Choral Class, Ensemble and Solo Singing, Folklore Ensemble. The author concludes that currently the pro-spects of ethnocultural education are associated with the need for its axiologization and the formation of a modern teacher-performer of folk songs.

Reframing Bel Canto in the Twenty-First Century: Dovetailing Tradition with Science-Informed Pedagogy

Abstract: Author Matthew Hoch explores the meaning, context, and viability of the term “bel canto” in the third decade of the twenty-first century, using James Stark’s seminal 1999 book Bel Canto: A History of Vocal Pedagogy as a starting point for reflection. Amplifying Stark’s desire to find common ground among various schools of historical pedagogy as well as the nexus between the master–pupil tradition and science-informed modern era, Hoch contemplates shifts that have occurred in the past quarter century while also highlighting some of bel canto’s timeless principles. Hoch suggests an expansion of Stark’s definition of bel canto adapted to the needs of the modern voice pedagogue.

Practice the Technique of Singing Vietnamese Light Music Song for Middle-age Female Voices

Classical chamber music vocal techniques, typically the bel canto singing style, have been shaped with many methodical methods. In our country, several famous vocal pedagogues have compiled and written books on teaching vocal music such as Nguyen Trung Kien and Ho Mo La. Unlike classical chamber singing, currently, in our country, there are no books or unified in-depth research on light music singing techniques. While classical vocal techniques require strictness and the singer must accurately perform every detail recorded in the song, light music is characterized by a fairly free and comfortable way of singing from the mouth, how to vibrate your voice, process sound to express your work... Singers can be creative from their point of view, as long as they create their mark and attract listeners.

Vocal Pedagogy - Reflections on How to Teach Proper Speaking and Singing to Students

"The present study intends to dive into the world of technically appropriate human sound production. Whether it’s used in professional speech or singing, understanding the different elements that aid in the correct creation and emission of sound are prerequisites for all who intend to pursue a career that requires speaking or singing for an extended period of time. From the characteristics of sound to the anatomy of how sound is created, what does technical breathing mean but also what a voice trainer needs to pay attention to in terms of anatomy but also psychology when working with students, the following article presents the steps and methods a vocal coach needs to take into account when taking on a new student. Keywords: human voice, pedagogy, technical breathing, professional speech, singing, vocal coach, anatomy."

Creativity of the teacher and student in the context of working on voice in spoken language

This article is a reflection by practitioners working in the field of vocal pedagogy. The authors are professional actresses who, using their voice as a tool in their stage work, transfer their personal experiences, supported by pedagogical knowledge, preparing individuals without experience in public speaking to work with their voice. The voice, as a fundamental tool of interpersonal communication, plays a key role in communicating individual emotions, intentions, and meanings. Therefore, working on its improvement requires a creative approach from both teachers and workshop participants. The article is dedicated to the analysis of the potential of voice emission workshops perceived in the context of a tool stimulating the development of participants’ creativity and individuality. Also, this is an attempt to point out the non-obvious benefits that participants achieve. Empirical studies conducted over the years in the context of working on voice in spoken language lead to the conclusion that workshops dedicated to voice emission support the individual development of participants and teachers by triggering their creativity and stimulating imagination.

Physical Touch in the Voice Studio: A Closer Look

Physical touch as a teaching methodology for voice teachers is a subject that must be confronted. The issue is a timely one considering recent social movements that are shedding light on systems of power that lead to abusive practices within society. Furthermore, there is a lack of information and consensus in recently published vocal pedagogy and music education literature regarding the effectiveness of physical touch as a teaching modality. Some voice teachers feel physical touch is necessary for quickly correcting a technical problem, while others feel that physical touch is the only way to demonstrate certain technical concepts. Currently, voice pedagogy literature that advocates for the use of physical touch in a private voice lesson is predominately supported anecdotally rather than by research, and significantly lacks the perspective of the student. The field of motor learning research can be useful in informing voice pedagogy in specific areas of intersection. Additionally, when considering other factors (such as trauma and power dynamics in the voice studio), other equally viable teaching options must be considered. Given the current state of the field of voice pedagogy, it is of the opinion of the author that physical touch as a pedagogical technique in a voice lesson should be abandoned.

Recent Research in Singing

This “Recent Research in Singing” article chronicles four recent academic documents authored during academic year 2023. Dissertations by Brandon W. Banks, “Uncovering Word Painting and Motivic Structures Within Paul Hindemith’s Das Marienleben;” Sarah Kathryn Curtis, “I’m a Stranger Here Myself: An Analysis of a Selection of Kurt Weill’s Vocal Music;” Blythe Reed-Banks, “The Effect of Menstruation on the Upper Vocal Registers of Female Voices;” and a thesis by Christina Kayleen Hoss, “Classical and Musical Theater Vocal Pedagogy for Female Collegiate Singers: An Observation and Study.” Each includes a complete bibliographic citation and an Author/ProQuest abstract.

The Infl uence of Russian Vocal Music on Chinese Vocal Pedagogy and Performance

The article examines the infl uence of the Russian vocal school on Chinese culture in the context of vocal performance and vocal pedagogy. The history of the formation of Russian vocal traditions is touched upon, the process of their integration into Chinese society from the beginning of the 20th century to the present is analysed. The historical process of the functioning of Russian vocals in China is analysed both in general and through the example of the capital of Heilongjiang Province, Harbin – a city that has been considered the center of Russian emigration for more than a century. The specifi cs of teaching vocal performance to modern Chinese students in Russian higher educational institutions are considered. At the end of the article, it is concluded that the promotion of the Russian vocal school in China allows the traditions of Russian vocals to develop not only in Russia, but also abroad.

Assessment of professional singers using laryngeal, respiratory, and airflow measurements

Purpose In the pedagogy of classical vocal singing, it can be difficult to determine the human voice fach, especially for the voice of aspiring vocalists. Hence, an objective metric-based system for the determination of the human voice is needed. In the present study, we investigated the anthropological and aerodynamic parameters for 60 professional singers with a professionally confirmed singing range. Methods Amongst the 60 included professional singers, there were ten participants each for sopranos, mezzo-sopranos, altos (female vocal fach), and tenors, baritones, basses (male vocal fach). Airflow measurements were recorded using spirometry whilst anthropological measurements were taken using CT scans. Appropriate statistical analyses were done using the Mann-Whitney U test and Kruskal Wallis H test with post-hoc tests and Bonferroni correction. p < 0.05 was considered statistically significant. Results Soprano singers, who have the highest pitch, were found to be the shortest and least heavy, whilst basses, who have the lowest pitch, were found to be tallest and heaviest amongst the study participants. Furthermore, sopranos had the smallest lung volumes while the basses had the largest lung volumes (raw spirometry measures). However, when normalized ratios were considered, no differences were observed. Finally, laryngeal size showed sexual dimorphism due to developmental changes. Conclusions A mix of anthropological and aerodynamic measurements may be useful to assist singers and vocal pedagogues to assess and determine voice types before the beginning of their vocal studies.

Breaking the Code: An Investigation on The Vocal Registers of Malaysia’s National Songstress Puan Sri Saloma

Investigations on vocal registers have been a great subject of debate. Early vocal pedagogues and scholars like Bacilly (1668–1690) and Behnke (1836–1892) paved the way for the modern-day investigation to take place through the categorisation of vocal registers across various music genres such as classical, jazz, and popular. However, an investigation on the vocal registers of Puan Sri Saloma (1935–1983) as a popular music icon of Malaysia has yet to be done. This paper intends to examine Saloma’s vocal registers through vocal analysis of five selected songs using case study as its research design. These songs are transcribed using music notation software (Sibelius) and analytical diagrams using similar software are produced to show the use of chest, middle, and head registers in each song. The finding shows the usage of the said registers and a diagram of Saloma’s vocal range is then produced, proving that Saloma was an alto. This study does not intend to limit Saloma’s vocal capability, but rather to celebrate her vocal prowess and encourage other scholars to conduct further investigations concerning Saloma as Malaysia’s national songstress.

Vocal Training of Foreign Students: Artistic and Pedagogical Approaches and Practices

The purpose of the article is to prove a special approach in the vocal training of foreign students, in particular Chinese, based on the analysis of various pedagogical methods. The novelty of the study lies in the comprehension of the problem of training foreign students and the peculiarities of vocal and pedagogical methods that are necessary to achieve this goal. The research methodology is based on the use of systematic-historical and comparative methods, which are used to analyse the traditions of the development of Italian and Ukrainian vocal schools and their most prominent representatives. Conclusions. Based on the analysis of various pedagogical methods, it was possible to prove a special approach in the vocal training of foreign students, in particular Chinese students. The study analysed the concept of the "Ukrainian vocal school" in its historical development, highlighted the names of the most prominent teachers who formed a whole galaxy of outstanding Ukrainian singers, of whom the country is proud and who have gained wide fame outside Ukraine. In particular, we are talking about such teachers as Oleksandr Myshuga, Olena Muravyova, and Valentyna Antoniuk. Various educational and pedagogical methods inherent in the European and Ukrainian vocal schools are analysed. The article highlights the national features that distinguish the Ukrainian school of singing. These include solo singing of Ukrainian folklore singing and the centuries-old tradition of choral singing. The following main components of adaptation of foreign students to the specifics of studying in Ukraine are outlined. Attention is focused on the ability to identify the relationship between the quality of singing sound and sound production technique. Key words: vocal pedagogy, vocal method, concentric method, phonetic method, phonopsychological technique, sociocultural adaptation, vocal orthography, authentic-style performance.

Preliminary Perceptual Findings of Singing After Flow Phonation Voice Exercises for Singers in Training

Goals of voice therapy and vocal pedagogy share similar principles and therefore, therapy approaches designed to improve the disordered voice may be equally effective when used to enhance healthy voice and vice versa. The purpose of this study was to investigate the effects of flow phonation voice exercises on vocal characteristics of students in undergraduate vocal music training programs and examine their potential use in vocal pedagogy. A total of 10 cis females were recruited and were randomized into two groups: an experimental group (group 1, n=6) receiving five sessions of flow phonation intervention across 5weeks; and a control group (group 2, n=4) that did not receive any direct intervention other than vocal hygiene education. Participants provided data pertaining to auditory perception, subjective respiratory measures, voice-related quality of life, and vocal fatigue before and after 5weeks. Flow phonation exercises consisted of cup bubble blowing, gargling, and stretch and flow. Wilcoxon signed ranks test was administered to compare outcomes across time points and between groups. Data indicate statistically significant changes in auditory perception of the singing voice, and voice-related quality of life for the group that received flow phonation exercises alone. No other measures showed statistical significance. Overall, this study indicates that the use of flow phonation voice exercises has the potential to improve voice instruction within the voice studio. While our target enrollments were not met to achieve optimal statistical power, our hypotheses were at least partially supported. In particular, positive intervention-related changes were observed in self-perceived voice handicap, and auditory perception of singing which were not observed in the control group.

Internacionalizaciya akademicheskoj vokal'noj pedagogiki i obrazovaniya: na primere obucheniya opernyh vokalistov v Rossii i Kitae

The article is devoted to the study of historical retrospectives of the development of vocal art and education in China. The nationally typical sources of the formation of the Chinese vocal school are revealed in comparison with the peculiarities of vocal pedagogy in Russia. An analysis is made of the problems of academic success of Chinese students going to Russian universities to receive professional vocal education.