Doctoral Final Projects--Voice (DM)

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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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    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
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    A Practical Handbook for Teaching Undergraduate Song Literature
    (Indiana University, 2022-07-11) Coates, Zachary
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    A MUSICAL ANALYSIS OF SELECTED MEDTNER SETTINGS OF PUSHKIN POEMS
    (Indiana University, 2022-05-13) Weinstein, Yana
    This document contains biographical, historical, and cultural information as well as poetic and musical analyses of fifteen songs by Nikolai Medtner on Alexander Pushkin’s texts. The paper focuses on Зимний вечер (The Winter Evening) op. 13, no. 1 and Муза (The Muse) op. 29, no. 1, all 6 songs of op. 36 and the seven songs of op. 52. The study is meant to enrich the performer’s depth of understanding, learning, and communicative potential. Three introductory chapters of the document present detailed biographical information on Medtner and Pushkin as well as a discussion of Medtner’s approach to text selection. The document raises the questions of a paradoxical symbiosis and an organic synthesis of Pushkin's modernism with Medtner’s conservatism. The second part of the document contains a chapter on Russian diction and three chapters which comprise poetical and musical analyses of individual songs, illustrated with annotated score examples, tables, and figures. The appendices provide syntactically idiomatic English translations of all thirty Pushkin poems set by Medtner as well as IPA and word-by-word translations of those texts.
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    In her words : an examination of the female narrative within select works of Libby Larsen
    (Indiana University, 2021-12-17) Jennings, Eileen (Eileen Carey)
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    Expanding undergraduate voice pedagogy curricula : academic options, considerations for implementation, and an examination of historic and modern approaches to curriculum
    (Indiana University, 2021-12-09) Templeton, Karisa L.
    Voice pedagogy skills, knowledge, and technique are less comprehensively addressed within curriculum for undergraduate vocal music performance and music education students in most of today’s universities. Problematically, young vocal music alumni often find themselves in careers sustained or supplemented by private applied voice teaching. Expanding undergraduate voice pedagogy curriculum is a path to better support young vocal alumni, providing them with early opportunities to explore vocational identities and early access to increased pedagogical training prior to hybrid performance and teaching careers. This research presents quantitative data about the current state of undergraduate and graduate voice pedagogy curricula within higher education in comparison to parallel undergraduate instrumental pedagogy programs and degrees. Four distinct undergraduate paths models for expanded voice pedagogy curricula are also identified and deconstructed with NASM curricular guidelines and curricular examples from major institutions as available. The four expanded voice pedagogy curricular options presented are (1) An undergraduate degree emphasis in voice pedagogy; (2) An undergraduate minor in voice pedagogy; (3) A pre-professional baccalaureate certificate in voice pedagogy; and (4) A new Bachelor of Music (BM) in Voice Pedagogy. Additionally, a newly constructed curriculum guide with course descriptions and four-year plan is also presented for consideration for a new BM Voice Pedagogy degree. The variability of the four approaches grants flexibility for implementation by diverse academic programs whose campuses, departments, faculty, and students invariably function differently. It also provides an avenue for the possible sequential growth of an undergraduate voice pedagogy program from smaller to larger over time. Additionally, research on historic and modern approaches to voice pedagogy curriculum are applied specifically to voice pedagogy curriculum for today’s students.
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    A comparison of barbershop and classical singing : selected crossover vocal techniques for the curious performer
    (Indiana University, 2021-05-12) Lentz, Daniel (Daniel Thomas)
    The barbershop style of singing offers many tools to enhance the knowledge and skills of the classically trained singer. And the barbershop singer can learn from the training a classical singer would receive at a music school or in private lessons. By studying both forms of singing, a performer can expand his or her arsenal of ways to express and communicate an idea. The African American historical roots of barbershop singing and European historical traditions of classical opera singing can commingle to help modern day classical performers gain beneficial skills, especially concerning improvisation. A newcomer to barbershop singing may discover that singing techniques already learned in classical singing can be utilized in barbershop singing as well. The techniques of overtone reinforcement and vowel matching used in barbershop singing can aid the classical singer’s understanding of intonation, resonance, and beauty of sound. Through experimentation with the voice parts in barbershop, a classically trained singer can discover and narrow the determination of his or her own voice type, thus empowering him or her to choose repertoire better suited to his or her voice. Many performance practices from the classical bel canto school of singing are transferable to barbershop, and vice versa. A classical singer can learn performance-enhancing techniques from barbershop coaches and judges in competitions. By investigating historical roots and current practices of both classical and barbershop singing, a singer can gain enlightening concepts for the improvement of his or her performance craft.
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    A catalog of mélodies composed by Pauline Viardot
    (Indiana University, 2021-05-02) Ballman, Sarah
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    Low male voice repertoire in contemporary musical theatre: a studio and performance guide of selected songs 1996-2020
    (Indiana University, 2020-12-11) Gussin, Jeremy
    Discussion of trends in low voice classification, voice science, current market and schooling practices prior to selection guidelines and in-depth analysis of songs from the recent musical theatre canon suitable for use in studio training or performance. Appendices showcase additional suggested repertoire, performer history, and where to find published versions of sheet music.
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    An in-depth look at Scott Joplin's Treemonisha
    (Indiana University, 2020-11-23) Clonts, Darian
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    Korean diction for singers
    (Indiana University, 2020-05-10) Jeong, Ahyoung