Doctoral Final Projects--Voice (DM)

Permanent link for this collectionhttps://hdl.handle.net/2022/14091

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Now showing 1 - 20 of 98
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    Sing As You Are: Towards a Disability-Informed Voice Pedagogy Curriculum
    (Indiana University, 2025-05-08) Slovin, Anne
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    Background, Analysis, and Application of Carlos Guastavino’s 15 Canciones Escolares
    (Indiana University, 2025-05-08) Fitzgerald, Rachel
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    FINDING RESILIENCE IN SONG: EXPLORING THE POST-WAR SONGS OF HENRIËTTE BOSMANS
    (Indiana University, 2025-05-08) Okerstrom-Drew, Elleka
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    Zwischenfach: An Exploration of the In-Between
    (Indiana University, 2025-05-07) Perkins, Geneil
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    Undergraduate Opera Workshop: A Curriculum Guide
    (Indiana University, 2025-05-07) Martin, Mary
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    History and Acoustics of the Mariachi Voice
    (Indiana University, 2025-05-07) Dunbar, Rachel
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    The Life and Solo Vocal Works of Carlotta Ferrari da Lodi
    (Indiana University, 2025-04-22) Kreider, Jennifer
    In her lifetime, Carlotta Ferrari da Lodi composed and premiered three operas for which she also wrote the libretti. These operas, along with many of her other musical works, were highly acclaimed by her contemporaries. Additionally, she was a praised poet and writer, well respected by some of the most influential and important Italian literary minds of the 1800s. Towards the end of her life, her literary works were published in a four volume collection titled Versi e Prose. How is it that an accomplished composer and writer referred to as “Bellini in a skirt” and the “Italian Saffo” by her contemporaries was so quickly forgotten following her death? Larissa Ferrari’s biography about Carlotta as well as Carlotta’s memoir recounting the creation and premieres of her operas reveal the obstacles the composer faced throughout her life. Some of these obstacles were out of her control; primarily, her gender caused many to be skeptical of her work and achievements. However, some obstacles were of her own making; her pride and stubborn confidence occasionally caused Carlotta to make professional decisions which she would later regret. In her memoir, Carlotta attributes her professional disappointments to bad luck and her ignorance in matters of business. Today, scholarship on Ferrari’s life and works is lacking, especially scholarship in the English language. In addition, neither recordings nor sheet music of her musical works are readily available. This document serves the purpose of familiarizing the reader with the fascinating life and vocal works of Carlotta Ferrari da Lodi. Part One will address her childhood and school years, her career as a composer, her career as a writer, and her later years. In Part Two, several of Ferrari’s solo vocal works will be introduced and analyzed, including the song cycle Sei Melodie, two sacred songs, a political hymn, and six additional art songs on texts by various poets. While Ferrari’s hope that her legacy would live on was not fulfilled immediately following her death, I am hopeful that the modern musicological focus on forgotten voices throughout history will bring her memory back to life and secure her works a well-deserved place in the classical music canon.
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    Black opera textualities : a look into The martyr ; Highway 1, USA ; and X : the life and times of Malcolm X
    (Indiana University, 2024-05-01) Sanders, Jeremiah (Jeremiah Marcell)
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    Le désir de liberté : the life and art songs of Augusta Holmès
    (Indiana University, 2024-05-01) Glaeser, Cassie
    Augusta Holmès was a pioneer and trailblazer in both musical and political spheres throughout her lifetime, and this influence was directly reflected in her musical output. This document provides background about Holmès’s life, including her connection to both French and Irish politics and how she played an active role throughout her life in working to change the political dynamic for women. This document also draws on gender constructs and feminist/gender rhetoric during her life, which, prior to the emergence of feminist musicology thirty-five years ago, would not be something critics or scholars considered when evaluating Holmès’s compositions. The eight mélodie explored, with texts written by Holmès, traverse the themes of war/politics and feminine love/sexuality. They are evaluated within socio-political and musical contexts to help illustrate their importance to the art song canon. In addition to serving as important reflections of the female perspective in music and the world during Holmès’s lifetime, her art songs are still relevant today.
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    The American pedagogy of Byzantine chant
    (Indiana University, 2023-12-14) Taluzek, Eleni
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    An examination of Māoritanga in Dame Gillian Whitehead's Mate ururoa
    (Indiana University, 2023-12-14) Tahere, David
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    Normas para boa pronúncia da língua nacional no canto erudito = Norms for the proper pronunciation of the national language in classical singing : a translation and an updated critical edition
    (Indiana University, 2023-11-17) Crafton, Curtis
    Normas para boa pronúncia da língua nacional no canto erudito (Norms for the Proper Pronunciation of the National Language in Classical Singing): A Translation and an Updated Critical Edition O Primeiro Congresso da Língua Nacional Cantada (The First Congress of the Sung National Language) took place in São Paulo, Brazil in July of 1937 with the intent of adopting a language standard to be used in artistic pronunciation of the national language (Portuguese, specifically Brazilian Portuguese). The result of this Congresso was the publication of a treatise, delineating the rules of sung Brazilian Portuguese called Normas para boa pronúncia da língua nacional no canto erudito (Norms for the Proper Pronunciation of the National Language in Classical Singing). Being the first attempt to codify and implement rules for classical singers to use in their art, this treatise is monumental. However, it is inaccessible to non-Lusophone English speakers wishing to research and learn the rules of sung Portuguese in Brazil, or at least start from the beginning, researching the root and impetus of this discussion from primary source documents. Because of the importance of the Normas in the history of diction for the arts, I provide for the first time, an English translation of this monumental first step in Brazilian history, which is the main purpose of this document and literary dialogue. The foundation for all other discussions and decisions regarding sung Brazilian Portuguese since 1937 have transpired and been made possible because of the work that was started in this Congresso and from the publication of the Normas that were the product of this Congresso. Secondary to the translation, but also of great importance, I provide an updated and critical edition of the original Portuguese text. These Normas were published in 1937 as a stand-alone work and then again in 1938 when they were included in the entire Anais do Primeiro Congresso da Língua Nacional Cantada (Annals of the First Congress of the Sung National Language) which was published the year following the Congresso. Though included in the 1938 publication of the Anais, nothing was updated to the actual Normas and since that time there has not been an updated edition published, aside from Vasco Mariz in his 1980 4th edition of A canção brasileira da câmara (The Brazilian Art Song) where he included portions of the 1937 Normas. Furthermore, there is no digital version nor is it accessible on the internet where the text can be accessed and used for study, research, and citation. Throughout my document, it will become clear that the leading experts in this field over the years have accessed, used, and cited these Normas in all their research involving Brazilian Portuguese diction for the arts, but it is still not as easily accessible as it should be today. Since it is used with so much frequency, this updated edition is necessary. To help with historical context, the prose section of this document is focused on what made with the Congress necessary, who made it happen, and what came after. Included are discussions of the evolution of the Portuguese language from the Iberian Peninsula to present day, a history of Mário de Andrade as one of the forerunners of the Congresso and subsequent Normas, and a chronological overview and review of meetings and materials that have happened or been written since 1937 that use or deal with the Normas.
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    Tenor transitions : three pedagogical approaches
    (Indiana University, 2023-10-13) White, Carmund
    The purpose of this study is to understand more clearly and systematically the steps that adult male classically-trained vocalists take, the techniques that work, and the time that it takes to transition from the baritone voice part to the tenor voice part. Central to this study are the singers’ reflections on the process. Lived experiences have been prioritized over theoretical analysis, the interviewees’ perspectives and processes over pedagogical concepts and commonly held technical practices.
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    Thirteen Chinese art songs by Zi Huang : a bridge between the East and the West
    (Indiana University, 2023-05-27) YIn, Yue (Soprano)
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    Dismantling the necessity for vocal code-switching
    (Indiana University, 2023-05-09) Lawrence, Alonza
    For more than 100 years, the Eurocentric Classical model has been offered as the academic institutional standard for vocal music majors in America. Even though there have been slight changes with the addition of Jazz and/or Musical Theater concentrations by numerous academies, the current academic structure for vocal majors has not kept up to date with the current social music evolution. The phenomena of Vocal Code-switching, which extends from DuBois’ theory of double consciousness, is one of many results of the prolonged endorsement of this monopolistic structure upon disenfranchised, under-represented, and historically oppressed communities. The purpose of this study was two-fold: 1) To investigate the methods used for strategic navigation between Eurocentric and Afrocentric voice study and performance; 2) To examine methods for developing a Gospel voice music major within the academy. Five academic specialists, who also identify as Vocal Code-switchers, provided advice for reaching a deeper understanding of Vocal Code-switching both inside and beyond the walls of the classroom, and for creating and implementing a Gospel-centered voice curriculum. For Vocal Code-switching, themes included: keeping the two realms separate, developing one voice that is utilized in both worlds, and developing creative methods by which you can achieve navigation. Regarding the Gospel voice major, participants addressed assessment in a Gospel- centered voice program, spiritual dimensions of a Gospel-centered voice program, and significances of technical knowledge development. Drawing on these ideas, a Vocal Code- switching Coordinate System and undergraduate Gospel Voice Performance curriculum were proposed. Course outcomes of Gospel-based curricula centered around quest-driven pedagogy provide benefits for the students, professors, and academic institutions.
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    Selected 19th century lieder by German women composers : a pedagogical anthology
    (Indiana University, 2023-05-05) Compton, Catherine
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    Exercise science and the singing voice
    (Indiana University, 2023-05-05) Nesbitt, Nicholas