Doctoral Final Projects--Voice (DM)
Permanent link for this collectionhttps://hdl.handle.net/2022/14091
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Item type: Item , SINGING IN (KI)SWAHILI: INTRODUCTION TO PRONUNCIATION & SONG LITERATURE FOR TENOR(Indiana University, 2026-05-18) Makobi, Sylvester MateteThe genesis of this project came from a production company's request for the author to serve as the music director for The Lion King musical. The company stated that it wanted someone who would also guide the performers on the pronunciation of the “African” text in the musical. This motivated the author to research the diction of the various African languages that exist in the musical. However, he found that the literature and resources on Swahili diction for singers and song literature is extremely limited. The project, therefore, focuses on introducing Swahili diction for singers, including a translation and pronunciation guide for selected songs suitable for the tenor voice. This project is important because Swahili is one of the fastest-growing African languages, with over 200 million speakers worldwide. The language is very accessible, since most of the words are pronounced the way they appear in written form. This is evident from the number of non-Swahili speaking artists, composers, singers, and conductors who have included Swahili literature and texts in their creative catalogs of works as well as their live programming of repertoire, for example: Michael Jackson, Miriam Makeba, Christopher Tin, and most recently Beyonce Knowles Carter. Knowledge of Swahili can also serve as an access to some of the other African languages. Showing the importance of Swahili, the African Union uses it as an official working language, and the United Nations also declared July 7th as the “World Kiswahili Language Day.” The project uses the International Phonetic Alphabet (IPA) for pronunciation guides and is accompanied by audio and video pronunciation guides. This document is intended to be a dynamic resource for voice teachers, song literature teachers, singers, conductors, collaborative pianists, vocal coaches, and diction coaches.Item type: Item , VOICES OF TAIWAN: POLITICAL TRANSFORMATION AND THE DEVELOPMENT OF TAIWANESE ART SONG IN THE TWENTIETH CENTURY(Indiana University, 2026-05-18) Tien Shield, Esther Yi-AnItem type: Item , The Biography and Solo Vocal Compositions of Karl Weigl (1881-1949)(Indiana University, 2026-05-13) Widmer, MitchellItem type: Item , ADDRESSING EXECUTIVE DYSFUNCTION IN THE VOICE STUDIO: WHY EVERY SINGER CAN BENEFIT FROM SYSTEMS AND STRUCTURE(Indiana University, 2025-12-22) Gold, RaeleeItem type: Item , Stress-Informed Voice Pedagogy in the Applied Voice Studio(Indiana University, 2025-12-22) Czarnota, BenjaminStress is an inescapable reality in the lives of voice students, with implications not only for their performance outcomes but also for their capacity to learn, self-regulate, and thrive in vulnerable artistic spaces. While the concept of optimal stress has long been acknowledged in psychology and sports performance studies, voice teachers and students alike are often left without sufficient guidance on how to recognize, manage, and productively harness stress in the applied studio setting. This document addresses that gap through an interdisciplinary exploration that integrates research from voice pedagogy, psychology, education, and sports science, offering both context and practical frameworks for stress management in vocal training. The project opens by situating the applied voice studio as a uniquely personal and pedagogically rich environment—one in which modeling, observation, and interpersonal dynamics form the backbone of learning. With stress as both an obstacle and a potential tool for growth, this author advocates for a reframing: away from stress elimination and toward thoughtful modulation. By tracing the historical evolution of stress theory and connecting it to the physiological and psychological realities of vocal performance, the study lays a foundation for practical interventions aimed at fostering resilience and learning efficacy. Included are applications of mindfulness, trauma-informed teaching practices, and cognitive-behavioral strategies tailored for the voice studio. Fictional case studies and assessment tools are provided to help teachers and students incorporate awareness and intentionality into their work. At its core, this document is both a critique of insufficient teacher training around stress and a resource for those seeking to lead by example, demonstrating that well-managed stress is not merely survivable but essential to excellence in vocal performance and education.Item type: Item , Sing As You Are: Towards a Disability-Informed Voice Pedagogy Curriculum(Indiana University, 2025-05-08) Slovin, AnneItem type: Item , Background, Analysis, and Application of Carlos Guastavino’s 15 Canciones Escolares(Indiana University, 2025-05-08) Fitzgerald, RachelItem type: Item , FINDING RESILIENCE IN SONG: EXPLORING THE POST-WAR SONGS OF HENRIËTTE BOSMANS(Indiana University, 2025-05-08) Okerstrom-Drew, EllekaItem type: Item , AN INTRODUCTION TO COLOMBIAN ART SONG: A DISCUSSION OF SELECTED WORKS BY JAIME LEÓN AND ANTONIO MARÍA VALENCIA(Indiana University, 2025-05-08) Koolman, Erin LeighItem type: Item , Zwischenfach: An Exploration of the In-Between(Indiana University, 2025-05-07) Perkins, GeneilItem type: Item , Undergraduate Opera Workshop: A Curriculum Guide(Indiana University, 2025-05-07) Martin, MaryItem type: Item , History and Acoustics of the Mariachi Voice(Indiana University, 2025-05-07) Dunbar, RachelItem type: Item , The Life and Solo Vocal Works of Carlotta Ferrari da Lodi(Indiana University, 2025-04-22) Kreider, JenniferIn 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.Item type: Item , INTRODUCTION TO MUSICAL THEATRE PEDAGOGY & REPERTOIRE: A GRADUATE LEVEL COURSE DESIGNED FOR CLASSICAL VOCAL STUDENTS(Indiana University, 2024-11-18) Friend, Lesley AnneItem type: Item , Teasdale's voice : selected song cycles for soprano by modern composers Richard Pearson Thomas, Lori Laitman, and Simon Sargon(Indiana University, 2024-07-23) Hamblin, WhitneyItem type: Item , 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)Item type: Item , Le désir de liberté : the life and art songs of Augusta Holmès(Indiana University, 2024-05-01) Glaeser, CassieAugusta 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.Item type: Item , The American pedagogy of Byzantine chant(Indiana University, 2023-12-14) Taluzek, EleniItem type: Item , An examination of Māoritanga in Dame Gillian Whitehead's Mate ururoa(Indiana University, 2023-12-14) Tahere, DavidItem type: Item , 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, CurtisNormas 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.