Contemporary Commercial Music Singing Students—Voice Quality and Vocal Function at the Beginning of Singing Training

2018 ◽  
Vol 32 (6) ◽  
pp. 668-672 ◽  
Author(s):  
Ewelina M. Sielska-Badurek ◽  
Maria Sobol ◽  
Katarzyna Olszowska ◽  
Kazimierz Niemczyk
2019 ◽  
Vol 33 (4) ◽  
pp. 501-509 ◽  
Author(s):  
Tua Hakanpää ◽  
Teija Waaramaa ◽  
Anne-Maria Laukkanen

1999 ◽  
Vol 44 (5) ◽  
pp. 1071-1078 ◽  
Author(s):  
Irma M Verdonck-de Leeuw ◽  
Ronald B Keus ◽  
Frans J.M Hilgers ◽  
Florien J Koopmans-van Beinum ◽  
An J Greven ◽  
...  

2017 ◽  
Vol 36 (2) ◽  
pp. 197-216 ◽  
Author(s):  
Irene Bartlett ◽  
Diana Tolmie

Over the past two decades the topic of graduate outcomes has increasingly informed the discourse on the changing nature of universities. For conservatoires and university music departments the global shift in audience demand away from western classical music and jazz styles (traditionally the cornerstone tertiary music programs) to contemporary commercial music (CCM) has added an extra dimension to the graduate outcomes discussion with respect to vocation preparation and musicians’ portfolio careers. Few studies have tracked the career paths of music graduates across time with none focused on jazz/contemporary singers. This report discusses the findings from a snapshot study of Jazz/Contemporary Voice graduates (2001 to 2012) of one Australian conservatoire. The purpose of this research was to better describe this population of graduates in terms of employment outcomes, the dynamics of their employment activities, employment-seeking strategies and the relevance of university coursework to their employability. Their responses have implications for tertiary music training programs.


Author(s):  
Jeremy Fisher ◽  
Gillyanne Kayes ◽  
Lisa Popeil

Traditional singing voice pedagogy has been heavily influenced by the performance practice and aesthetic of the Western lyric (classical) tradition. Recently, non-classical vocal genres have been termed contemporary commercial music (CCM). These genres include pop, rock, jazz, country, folk, rhythm and blues, and sometimes musical theater. Though in its infancy, the pedagogy of CCM (including belting) is of great interest worldwide. There are numerous differences between Western lyric and CCM genres including: written versus oral tradition; historical/cultural context; use of voice, word articulation, dynamics, vibrato, phrasing; stylistic idioms; vocal registers; pitch range; resonance characteristics; and learning cultures. This chapter advocates that the role of the modern vocal pedagogue is to explore, learn, and ultimately be able to impart the intricacies of each vocal genre to the next generation while honoring traditions and values.


2018 ◽  
Vol 32 (2) ◽  
pp. 200-208 ◽  
Author(s):  
María Priscilla Portillo ◽  
Sandra Rojas ◽  
Marco Guzman ◽  
Camilo Quezada

1997 ◽  
Vol 6 (3) ◽  
pp. 27-35 ◽  
Author(s):  
Philip C. Doyle

This paper addresses the effects of conservation laryngectomy, the outcome of voice quality, and a rationale for voice treatment. Conservation or partial laryngectomy surgical procedures seek to remove malignant tissue but also preserve some laryngeal structures, particularly when larger tumors exist. These procedures attempt to maintain both sphincteric and phonatory function of the postoperative larynx. The extent of surgical resection does not always correlate well with a patient's postoperative voice outcome. Thus, preconceived notions of postsurgical vocal function are often problematic. This tutorial discusses: (a) the rationale underlying the use of conservation laryngectomy procedures, (b) the clinical identification of the anatomical and subsequent physiologic basis of voice change following conservation laryngectomy, (c) the potential for functional compensation by the patient following conservation surgery, and (d) a rationale for voice refinement using treatment methods that traditionally have been employed for benign forms of laryngeal pathophysiology.


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