Vocal Students Research Articles

A case study of emergent leadership in whole-class discussion of controversial issues

Teachers are increasingly called on to employ dialogic practices to promote active and equitable student participation in academically challenging classroom discourse. However, vocal students who dominate whole-class discussions might threaten or even overthrow the ideal of equitable participation. Situated in a fourth-grade Chinese elementary classroom participating in an intervention seeking to implement dialogic teaching of controversial issues in Morality and Law, the current study examined the discursive patterns of an emergent student leader to reveal her attempts and struggles to actively take part in discussions, the teacher’s management of her dominant participation, and the scaffolding she provided for her less capable peers. We suggest that future professional development on dialogic teaching should better prepare teachers to effectively manage discrepancy in students’ oral participation, focusing on both vocal and silent students. We also call for more research to investigate the possibilities and strategies for students and teachers to share or co-manage leadership in dialogic teaching.

Analysis of the artistic characteristics and singing of the aria “Ritorna Vincitor”

Verdi’s four-act opera “Aida” has achieved great success since its premiere in Cairo on December 24, 1871 and it remains a staple in major opera houses worldwide. The work poses significant demands on dramatic sopranos, specifically with its wide vocal range and intense dramatic conflicts. Analyzing its artistic characteristics and singing techniques helps vocal performers continuously improve their singing level and ability to portray characters, providing valuable references for vocal students. This paper uses “Ritorna vincitor” as an example, employing literature research, music analysis, and stage practice to introduce Verdi’s compositional techniques and style, and to study the piece from multiple angles such as form, harmony, mode, rhythm, melody, language, and stage performance, finally combining research with stage practice.

Answered by Madame Marchesi: A Department Devoted to the Questions of Vocal Students, Part 3

Abstract: In 1907–1908, the Ladies Home Journal published a series of articles in which people could send questions to the famous voice teacher Mathilda Marchesi (1821–1913) to be answered in print. These articles are a rare glimpse at first-person, uninterpreted information. To the author’s knowledge, this collection of articles had not been previously republished in its entirety until this three-part series within Provenance , of which this installment—containing an exercise designed to train the trill—is the final one.

Современные технологии формирования творческой активности студентов-вокалистов в педагогической практике

В рамках настоящей статьи проводится анализ современных технологий стимулирования творческой активности студентов-вокалистов в контексте педагогической практики. Автором приводится краткая характеристика современного вокального образования, а также проблем, с которыми сталкиваются современные педагоги. Особое внимание уделяется музыкальному искусству, основа которого заключается в индивидуальности и самостоятельности исполнителя или композитора, благодаря чему происходит развитие данной сферы деятельности. В работе также рассматриваются технологическая культура будущих вокальных педагогов, а также воспитание учащихся как самостоятельных и индивидуальных личностей как предпосылки активизации творческой деятельности посредством новых методик обучения. В связи с этим автором предлагается новая педагогическая модель, основой которой является использование цифровых технологий (специального программного обеспечения, связанного с обработкой вокала и иного аудиоматериала) и антропологического подхода, предоставляющая учащимся возможность влиять на организацию учебного процесса и реализовывать собственный творческий потенциал посредством работы в команде. Within the framework of this article, an analysis of modern technologies for stimulating the creative activity of vocal students in the context of pedagogical practice is carried out. The author provides a brief description of modern vocal education, as well as the problems faced by modern teachers. Special attention is paid to the musical art, the basis of which lies in the individuality and independence of the performer or composer, thanks to which the development of this field of activity takes place. The work also examines the technological culture of future vocal teachers, as well as the education of students as independent and individual personalities as prerequisites for the activation of creative activity through new teaching methods. In this regard, the author proposes a new pedagogical model based on the use of digital technologies (special software related to the processing of vocals and other audio materials) and an anthropological approach that provides students with the opportunity to influence the organization of the educational process and realize their own creative potential through teamwork.

The role of the motivational aspect in vocal students’ professional development

Importance. The necessity of using the motivational aspect in the professional training of music specialists, which contributes to the effectiveness of the educational process, is determined. A motivated student strives to constantly improve his skills, which allows him to become a professional in his field. The types of motivation that influence the vocal students’ professional development and various aspects such as vocal training, musical abilities development, music theory studying, working on performance technique and much more that contribute the vocalist’s professional development are revealed.Research Methods. Based on a theoretical analysis of specialized literature and systematization of materials from scientific sources, the role of the motivational aspect in vocal students’ professional development is substantiated.Results and Discussion. The possibilities of motivation that contribute to improving the quality of education and developing the personality of a vocal student are considered. The characteristics of the main methods that teachers use to motivate vocal students are given. Recommendations are offered for the use of motivation in the process of vocal students training.Conclusion. It is concluded that motivation contributes to the education quality improving, vocal student’s personality development and his successful adaptation in the modern world.

Роль сценической практики в обучении студентов-вокалистов

The analysis of the professional training of vocal students reveals the role of stage practice in the educational process of the University of Arts as the leading one that determines the professional portrait of a graduate. The study determined that the professional training of vocal students should be personalized, since the performer embodies a set of individual personal characteristics and creative abilities, in solving problematic issues of which vocal stage practice plays a key role. The artistic and pedagogical space of stage practice can provide special conditions for the development of creative and personal abilities of students, in which the task of music education changes, namely, the individual is centralized as a co-author of the reproduced musical notation. The professional education of future vocalists is a complex process due to the multifaceted nature of educational activities, in which the foundations of folk musical culture, literature, musical literacy, solo chamber and opera performance, and stage practice are closely intertwined.

Answered by Madame Marchesi: A Department Devoted to the Questions of Vocal Students, Part 2

Abstract: In 1907–1908, the Ladies Home Journal published a series of articles in which people could send questions to the famous voice teacher Mathilda Marchesi (1821–1913) to be answered in print. These articles are a rare glimpse at first-person, uninterpreted information. To the author’s knowledge, this collection of articles had not been previously re-published in its entirety until this three-part series within Provenance , of which this installment is Part Two. While Marchesi fields a range of questions, a persistent theme in this installment involves the appropriate age to begin serious study of voice, as well as Marchesi’s opinion of diaphragmatic, “lateral” and clavicular breathing.

A Method for Improving the Pronunciation Quality of Vocal Music Students Based on Big Data Technology

With the development of internet technology, big data has been used to evaluate the singing and pronunciation quality of vocal students. However, current methods have several problems such as poor information fusion efficiency, low algorithm robustness, and low recognition accuracy under low signal-to-noise ratio. To address these issues, this article proposes a new method for evaluating sound quality based on one-dimensional convolutional neural networks. It uses sound preprocessing, BP neural networks, wavelet neural networks, and one-dimensional CNNs to improve pronunciation quality. The proposed 1D CNN network is more suitable for one-dimensional sound signals and can effectively solve problems such as feature information fusion, pitch period detection, and network construction. It can evaluate singing art sound quality with minimum errors, good robustness, and strong portability. This method can be used for the evaluation and diagnosis of voice diseases, helping to improve students' professional abilities.

Employment Quality of University Graduates: A Literature Review

The purpose of this study is to review the academic research of university graduates. This article provides an overview of key themes and identifies research gaps for future surveys. A review and thematic analysis of published empirical studies in the past 10 years were conducted, and a total of 8 themes were summarized. These 8 topics are: Student expectations and employment quality, employment development in colleges and universities, employment anxiety of higher vocal students, the impact of artistic intelligence on the employee of college graduates, strategies to Improve Employee Outputs, evaluation of Employee Quality, the impact of Internship Experience on Job Interviews, and predicting Learning Gains for Students Based on Faculty Behaviors. Through a comprehensive literature review, prospects for future research directions are presented.

Answered by Madame Marchesi: A Department Devoted to the Questions of Vocal Students, Part 1

Throughout 1907–1908, the Ladies Home Journal published a series of articles in which people could send questions to voice teacher Mathilde Marchesi to be answered in print. These articles are a rare glimpse at first person, uninterpreted pedagogical information. To the author’s knowledge, this collection of articles has not been republished in its entirety. The author will do so in a three-part article series within the Journal of Singing column “Provenance,” of which this is the first installment.

The Use of Growl Vocal Technique to Enhance Voice Quality in Singing Pop Songs

This study aims to provide solutions for students of Music Education Study Program of Indonesia Institute of the Arts Yogyakarta who face problems in singing pop songs, particularly to reach high notes. Growl is a kind of vocal technique for producing growling sounds. Initially, Growl vocal technique was used by metal or rock vocalists. However, this technique can be applied to pop songs as a variation. As a result, it can be functioned as a solution to reach high notes for the singers having low range of notes. This study focused on the process of practicing Growl vocal technique and the use of Growl when singing pop songs. The author implemented qualitative method emphasizing on cas study approach. The data collection was carried out through literature studies, observations, and interviews by selecting sample from the respondents engaging in this study case in which the subjects of the study were Pop Jazz vocal students in Music Education Study Program of Indonesia Institute of the Arts Yogyakarta. The application of Growl Vocal Technique is highly efficacious when singing both low and high notes in legato manner. In addition, Growl can be an emphasis on the specific lines of song lyrics to convey the enotional meaning of that part. Furthermore, it also can be functioned as an alteration to create divergence of a singer in using vocal techniques when singing. It leads to a novelty that the use of Growl vocal technique can be said to be an aesthetic expression to make voice much more amusing.

Scat Singing Learning Method in Jazz Vocals for Vocal Students of Music Presentation Institut Seni Indonesia Yogyakarta

Scat singing is the designation of vocal improvisation techniques in jazz music. This form of vocal improvisation was first popularized by Louis Armstrong in 1962. Scat singing is often learned by imitating improvised musical instruments into vocals, such as saxophones, trumpets, guitars, or pianos. Popjazz vocal students of the ISI Yogyakarta Music Presentation study program began to be introduced and learned scat singing from semester 2 to semester 6. Only a few students successfully apply this vocal improvisation technique when singing in performances and jam sessions. The author as a lecturer of popjazz vocal practice in the Music Presentation Study Program has observed the difficulties experienced by the majority of students. Several stages of learning have been applied in the learning process, for example by understanding scales and chord patterns, developing the main melody in songs, enriching vocal dialects, to multiplying musical references. This stage of learning was not significantly successful in helping students master scat singing. This study aims to formulate a learning method of vocal improvisation techniques for scat singing. The data collection process is carried out by observing the learning process during lectures, interviews with students, and regular singing practice. Inductive qualitative data analysis, which is an analysis based on the data obtained then developed a certain relationship pattern or hypothesis. The research was conducted by qualitative methods, with the final result being a descriptive sentence formulation of steps to master the vocal improvisation technique of scat singing. This conclusion is expected to be an overview for lecturers in order to determine the right approach to help students master scat singing and dare to apply it in songs.

Formation of Student’s Vocal Performance Skills in the Academic Singing Class

The purpose of the research is to outline the principles and systematize the information on the formation of vocal and performance skills of academic singers in voice training classes in the context of their own experience, studying the experience of Solomiya Krushelnytska’s work with beginner singers, Alexander’s technique and Estill Voice Training. The research methodology is based on the following methods: analysis of various vocal techniques in the field of vocal art, which made it possible to study and determine the principles of forming the vocal and performance skills of an academic vocal student, as well as methods of generalization and systematization, historical and personal experience, which made it possible to outline the principles of forming skills in the academic vocal. In the course of analyzing the professional literature, the music-theoretical and source studies methods were applied. Scientific novelty of the research. Based on an in-depth study of S. Krushelnytska’s methodology, Alexander’s technique, and Estill Voice Training, the author presents her own practical experience in the context of the importance of developing vocal skills from the musicological and performing point of view. Conclusions. The study of vocal skills is based on various methods, among which we can distinguish the method of S. Krushelnytska, Alexander’s technique and Estill Voice Training. Each of these methods focuses on the development of certain aspects of vocal art and provides tools for developing various elements of vocal technique, such as the respiratory system, body posture, and vocal cords. Mastering professional knowledge and skills is a prerequisite for the further professional growth of vocal students, enabling them to develop their vocal skills, expand their repertoire, and realize their creative potential in various styles of vocal art.

PROSPECTIVE DIRECTIONS FOR IMPROVING THE PROCESS OF FORMING THE READINESS OF VOCALIST STUDENTS TO THE STAGE ACTIVITY

The article clarifies the essence of the concept of "readiness of vocal students for stage activities". The need to identify promising directions for improving the process of formation of this phenomenon is substantiated. The dependence of student-vocalists' readiness for stage activities on the quality of preparation of musical works for public interpretation is considered. The spectrum of searches for effective forms and methods of improving the process of formation of the given phenomenon is highlighted thanks to the discovery of promising ideas, the implementation of which makes it possible to achieve perfect readiness of student vocalists for stage activities. The organization and course of a research experiment aimed at testing the effectiveness of well-founded hypotheses regarding the expedient use of voluntary and involuntary types of memory of student vocalists in the process of preparing a concert program for a stage presentation is described. It has been experimentally proven that effective forms and methods of improving the process of purposeful formation of students-vocalists' readiness for stage activities are those that enable them to use an arbitrary form of memorizing musical and literary text, and during its reproduction (creative interpretation) - a mixed one.Key words: readiness of vocal students for stage activities, musical works, forms and methods of memorizing sheet music, voluntary memory, involuntary memory.

다차원적 음성평가를 이용한 예비 직업적 음성사용자의 음성 특성 분석

The purpose of this study was to examine the differences in voice characteristics between pre-professional voice users, vocal college students and acting majoring college students, using self-voice evaluation and reflux and globus sensation scale. As test tools, the Korean version of the Voice Handicap Index (K-VHI), the Korean version of the Voice-Related Quality of Life (K-VRQOL), the Reflux Symptom Index (RSI), and the Glasgow-Edenburgh Thraot Scale (GETS) were used. The subjects of the study were 68 students, including 27 college students majoring in vocal and 41 college students majoring in acting. As a result of the study, K-VHI(F), RSI, and GETS scores of college students majoring in acting were significantly higher than college students majoring in vocals (p <.05), and there was no significant difference in K-VRQOL. The students majoring in acting had more voice problems, reflux symptoms, and a globus symptoms in the throat than vocal students. These results were related to voice hygiene level and lifestyle habits. Therefore, education on the effects of lifestyle habits related to voice hygiene on voice can be helpful for prospective professional voice users.

Spiritual component of the students-vocalists’ work (based on the Ukrainian composers’ repertory)

Statement of the problem. The history of Ukrainian culture is a continuous ascending path of trials, on which the mental level of Ukrainian music – its song melos, from crying and lyrics to heroics and jokes – appears as the quintessence of spirituality. A large layer of the Ukrainian folk song tradition and academic genres of music, in particular chamber and opera, from the past to the present, embodies spirituality as a guiding principle. Through the worldview position of its author, artistic images convey the “spirit of the time”. The creativity of a singerperformer is connected with the knowledge of the inner world of a person, its artistic “reflection”, with reliance on a strong spiritual foundation for realizing higher spiritual priorities in the hierarchy of values of national musical culture. So, the topicality of the topic is due to: a) the need to preserve national Ukrainian art at the current stage of development of higher art education in Ukraine; b) the needs of spiritual and personal education of young singers; c) understanding of the spiritual content of vocal works of various genres and styles, which are included in educational programs for solo singing. The significance of the formation of spiritual values of a creative personality is actualized in the scientific works of I. Bekh (2018), O. Oleksiuk (2017), V. Antoniuk (2007), O. Rudnytska (2001); the question of the spirituality of music is considered by L. Shapovalova (2014), S. Ship (2016). The innovativeness of the study is conditioned by consideration of the spiritual component of the vocal students’ creation based on the national musical background. The purpose of the study is to substantiate the role of external and internal levels of manifestations of spirituality as components of the student’s creative experience in the class of solo singing. The study of the problem of the singer’s spiritual education presupposes the application of general and special scientific approaches and methods, including: comparative typological analysis of the interpretation of vocal works; interpretative and instructive understanding of the performance through the reflection of the mentality of the imaginary hero (Shapovalova, 2014: 30); a personal and creative approach in creating a “spiritual circle” in the “teacherconcertmaster-student” system. The results of the study support the necessity of realizing the spiritual content of vocal works of different genres and styles included in the solo singing curricula. The special significance of Ukrainian song examened in the spiritual and personal dimension in the performing work of vocal students is emphasizes. Vocal pieces based on T. Shevchenko’s poems as the embodiment of a deep national idea are presented. L. Kolodub’s opera “The Poet” is given as an example of the genre of tragic-lyrical phantasmagoria, where the figure of Taras Shevchenko himself is presented. Another dimension of folk spirituality continuing of the traditionally funny images of Ukrainian opera, is considered in the example of the V. Hubarenko’s opera “The Reluctant Matchmaker”. Colorful images created on the stage of M. Lysenko KhNATOB by outstanding singers (E. Chervoniuk, V. Grashchenko) are considered in aspects embodying spiritual components of vocal image. The problem of the spiritual experience of creative communication between a teacher and a student in the solo singing class is considered in the individual context (according H. Rickert). The ways of forming a spiritual model of creative relations in the system “teacher-accompanist-student” are analyzed. Conclusion. It is proved that the professional self-affirmation of a vocal student is impossible without spiritual self-improvement and social orientation of his work, without realization the essence of the “inner feat”: during the performance he is both a spiritual reflection of the author and the personification of an imaginary hero. It was revealed that the precondition to form the spiritual foundations of the creative process is the general uplifting mood of the student and teacher, a feeling of festivity and “holiness” of the creative process. Individual manifestations of interpretive independence in combination with models implementing spiritual components within the creative circle “teacher-accompanist-student” become the basis for the formation of spiritual experience of a future singer.

Педагогическая технология развития творческого потенциала китайских студентов-вокалистов в вузе в процессе подготовки к концертной деятельности

The purpose of the study is to substantiate the organization of the stages of pedagogical technology for the development of the creative potential of student vocalists at the university. The article pays special attention to the issues of consistency and continuity in the implementation of pedagogical technology, which contributes to the achievement of the professional qualities of future musicians-performers. Scientific novelty lies in the author's contribution to the substantiation of the interaction between the stages of pedagogical technology in the preparation of Chinese students, aimed at developing their creative potential. As a result, the substantive aspects of the stages of pedagogical technology are substantiated, the artistic and vocal-performing foundations for the development of the creative potential of vocal students are determined.

WhatsApp as a tool for Building a Learning Community

WhatsApp groups are considered useful for creating and supporting virtual communities. This mixed method case study explores the patterns that emerged when we used WhatsApp to create a community of learning during the multimodal presentation of a postgraduate course in research proposal writing. Three questions drive the study: (1) What kinds of messages were sent? (2) Who participated and how? (3) How did the learners experience the use of WhatsApp in support of the community of learning? Data were collected during the presentation of a five-evening proposal writing workshop that was conducted using Zoom, WhatsApp, and YouTube as communication platforms. To answer the first question, all WhatsApp messages were analysed through both manual (individual) and automated (meta) content analysis. The third question was answered by analysing students’ responses to the end-of session online questionnaire that was administered via Google Forms. Results indicate that many messages were administrative in nature, while the most notable academic messages concerned a discussion of empirical research, research paradigms, and research design. The presenter and co-presenter together accounted for almost half of the messages sent, and the other messages were evenly distributed between members of the class, with five notably vocal students. Student responses indicated that they liked the high level of interactivity and the content, but that they disliked the time it took to form groups. The paper contributes to the literature by showing how this use of multiple WhatsApp groups was effective in creating a sense of community by facilitating access, relationships, vision, and function (West and Williams, 2017). More research is needed in determining the extent to which students might support one another with conversations outside of the main WhatsApp group.

Этнокультурный подход к формированию музыкально-педагогического репертуара на примере вокальной лирики чувашских композиторов

The purpose of the article is to substantiate the ethno-cultural approach to the formation of the musical and pedagogical repertoire of students of the Chuvash State Institute of Culture and Arts. The implementation of the ethno-cultural approach ensures the orientation of their professional training to the development of culture as a historically determined type of human activity with certain ethnic characteristics. The author examines the potential of Chuvash vocal lyrics in the aspect of an ethnocultural approach, for which he analyzes romance in detail as a genre of Chuvash composer music. Based on the method of stylistic analysis, conclusions are drawn about the derivative character of the Chuvash romance, which goes back through the Russian medium to the medieval European musical tradition. The first Chuvash romances were vocal works based on the words of the classics of Russian literature A. Pushkin and M. Lermontov translated into the Chuvash language. Subsequently, independent Chuvash works with an ethnic sound appeared in the Chuvash musical art (works by O. Agakova, Y. Grigoriev). Romances have enriched Chuvash chamber music with vivid artistic images, they are characterized by a deep insight into the drama of verse, sincerity, lyricism and nobility of utterance, a variety of forms. The musical and pedagogical repertoire of vocal students should be supplemented with works of both the early stage (romances to the words of Pushkin and Lermontov translated into Chuvash) and modern (romances with ethnic sounding accompaniment with a characteristic Chuvash folk music mode and metrorhythmics, with Russian and Chuvash texts).

Acceptance and Commitment Coaching for Music Performance Anxiety: Piloting a 6-Week Group Course With Undergraduate Dance and Musical Theatre Students.

Treatments for students with problematic levels of music performance anxiety (MPA) commonly rely on approaches in which students are referred to psychotherapists or other clinical professionals for individual care that falls outside of their music training experience. However, a more transdisciplinary approach in which MPA treatment is effectively integrated into students’ training in music/performing arts colleges by teachers who work in consultation with clinical psychologists may prove more beneficial, given the resistance students often experience toward psychotherapy. Training singing teachers, and perhaps music teachers at large, to use an evidence-based coaching strategy like Acceptance and Commitment Coaching (ACC) to directly manage students’ MPA is one such approach. Building on the work of a previous study in which ACC was administered by a singing teacher to a musical theatre student with problematic MPA, we piloted the effectiveness of a six-session, group ACC course for a sample of performing arts students (N = 6) with MPA related to vocal performances, using a mixed-methods design. The coach here was also a singing teacher without a clinical background, and her training in ACC by a clinical psychologist was of a similar duration (8 h) as the previous teacher’s (7 h). Similar to the musical theatre student, the students reported being significantly less fused with their MPA-related cognitions, more accepting of their MPA-related physiological symptoms, and more psychologically flexible while performing in general, and these improvements were maintained after 3 months. Furthermore, they appeared to lower their shame over having MPA and change how they thought in relation to one another. Of note, these improvements were similar to those shown by seven vocal students with MPA after they received Acceptance and Commitment Therapy from a clinical psychologist, but with larger reductions in shame and better acceptance of MPA, which suggests a non-clinical, group ACC intervention that includes supportive discussions to normalize MPA and challenges attempts to control it may be more helpful than individual psychotherapy. These results are promising and indicate a brief training in ACC (<10 h) may be sufficient for singing teachers to provide significant benefit for students with problematic MPA.