The Choral Director as Voice Teacher

2007 ◽  
Vol 93 (4) ◽  
pp. 17
Author(s):  
Debby Lyttle ◽  
Lorenz Corporation
Keyword(s):  
Voice Teacher ◽  
Choral Director

Extraordinary voices: Helen Keller, music and the limits of oralism

2019 ◽  
Vol 4 (2) ◽  
pp. 139-156
Author(s):  
Michael Accinno
Keyword(s):  
World View ◽  
Musical Culture ◽  
Vocal Production ◽  
Cultural Logic ◽  
Human Voice ◽  
Shared Identity ◽  
Helen Keller ◽  
Voice Teacher ◽  
Musical Practices ◽  
Opera Singers

Abstract This article examines iconic American deafblind writer Helen Keller's entræ#169;e into musical culture, culminating in her studies with voice teacher Charles A. White. In 1909, Keller began weekly lessons with White, who deepened her understanding of breathing and vocal production. Keller routinely made the acquaintance of opera singers in the 1910s and the 1920s, including sopranos Georgette Leblanc and Minnie Saltzman-Stevens, and tenor Enrico Caruso. Guided by the cultural logic of oralism, Keller nurtured a lively interest in music throughout her life. Although a voice-centred world-view enhanced Keller's cultural standing among hearing Americans, it did little to promote the growth of a shared identity rooted in deaf or deafblind experience. The subsequent growth of Deaf culture challenges us to reconsider the limits of Keller's musical practices and to question anew her belief in the extraordinary power of the human voice.

The Voice Teacher as Spiritual Director

Liturgy ◽  
1983 ◽  
Vol 3 (3) ◽  
pp. 79-87
Author(s):  
Isabella Bates
Keyword(s):  
Voice Teacher ◽  
Spiritual Director ◽  
The Voice

Ghosts in the Machine: A Virtual Choral Performance as Hauntological Praxis During the COVID-19 Pandemic

2021 ◽  
pp. 42-55
Author(s):  
Clare Lesser
Keyword(s):  
New York ◽  
Abu Dhabi ◽  
Binary Opposition ◽  
New York University ◽  
Time And Space ◽  
Karlheinz Stockhausen ◽  
Choral Director ◽  
Sense Of Time ◽  
The Impact ◽  
Audio Mixing

An interwoven reading of the issues surrounding a performance – rehearsed and recorded remotely and hosted virtually – of Sxip Shirey and Coco Karol’s The Gauntlet: Far Away, Together, for 15 voices and electronics (given at New York University Abu Dhabi in March 2021, in which I was choral director), and Jacques Derrida’s Specters of Marx (1993/2006). I examine the impact that COVID-19 had on realising this performance – which had originally been intended for a ‘live’ and fully immersive and interactive presentation – and consider how earlier models of hauntological praxis in works by Karlheinz Stockhausen have parallels with performing during the pandemic. I explore the ways in which working in isolation, with little sense of time or location, foster a sense of ‘aporia’ or perplexity, overturning the binary opposition of time and space, and how the use of the SPAT immersive audio mixing tool to electronically process single voices into multiple, spatially realised echoes (ghosts) of themselves, truly gives us ‘ghosts’ in the machine.

The Voice Teacher as Shakespearean Collaborator: Margaret Carrington and John Barrymore

1997 ◽  
Vol 38 (2) ◽  
pp. 129-158
Author(s):  
Michael A. Morrison
Keyword(s):  
New York ◽  
Richard Iii ◽  
American Theatre ◽  
Voice Teacher ◽  
Vocal Quality ◽  
The Voice ◽  
Scholarly Attention

In the annals of staged Shakespeare, John Barrymore, Arthur Hopkins, and Robert Edmond Jones have been much honored for their landmark productions of Richard III and Hamlet, first seen in New York during the 1919– 20 and 1922–23 seasons. Another collaborator in these revivals, however, has received little scholarly attention: Margaret Carrington, a Canadian-born voice teacher who contributed significantly to the success of these productions by “remaking” Barrymore's voice. Although reviews of Barrymore's performances in the years preceding his Shakespearean debut often mentioned his “monotonous” vocal quality, the result of his studies with Carrington was a vocal instrument of extraordinary range and flexibility. As Heywood Broun remarked in 1923: “Someone ought to write a tale about Barrymore called ‘The Story of a Voice.’ It is one of the most amazing adventures in our theatre. Here was a particularly pinched utterance distinctly marred by slipshod diction. Today it is among the finest voices in the American theatre.”

Some problems of the voice teacher

1925 ◽  
Vol 11 (4) ◽  
pp. 337-349
Author(s):  
T. J. Williams
Keyword(s):  
Voice Teacher ◽  
The Voice

scholarly journals CRITICAL PEDAGOGY - MOVEMENT FOR STUDENTS VOICE, TEACHER′S AUTHORITY AND EQUALITY IN EDUCATION

2018 ◽  
Vol 1 (2) ◽  
pp. 151
Author(s):  
Aleksandra K. Andjelković
Keyword(s):  
Identity Development ◽  
Critical Pedagogy ◽  
Pedagogical Practice ◽  
School Practice ◽  
Voice Teacher ◽  
The Usa ◽  
The Right ◽  
Equality In Education ◽  
Political Economic ◽  
Future Vision

Critical pedagogy has significant place among the papers of numerous researchers and theoretician of education especially in the USA. The central focus of this paper is directed to historical development of critical pedagogy, the most significant postulates and on ideas of their bearer. The starting points for considering presents the ideas of critical pedagogues as Paulo Freire and Henry Giroux, ideas of Jean Jacques Rousseau and John Dewey that are considered as forerunners of this movement, until the contemporary representatives of critical pedagogy who continued to support and develop this approach. The aim of this paper is to consider the influence of critical pedagogy and its representatives on school practice and education. It can be concluded that promoted idea, which was created and developed in critical pedagogy that education is never „sterile clean“, is impregnated with reflections of numerous political, economic and social circumstances, and it stayed as future vision to be considered by theoretician of education, pedagogues and pedagogy of future. At the end, some of the implications for modern pedagogical practice, formed by analyzing the critical pedagogy and needed to nurture in school practice are separated, those implications are developing teachers’ critical spirit and its autonomy, nurturing the quality in relations with students that induce their development and improve outcomes, the strength of the dialogue culture which respects the right to be different and which straightens the ethical responsibility of teachers that represents the basics of teachers’ identity development and building of their profession.   

scholarly journals Beautiful choral tone quality rehearsal techniques of a director

2005 ◽  
Author(s):  
◽  
Bonnie L. Jenkins
Keyword(s):  
High School ◽  
Music Education ◽  
Strategic Plan ◽  
Choral Directors ◽  
Tone Quality ◽  
Whole Person ◽  
Choral Director ◽  
Choral Tone ◽  
Rehearsal Techniques

What is beautiful choral tone quality? What effective rehearsal techniques might be found if a successful high school choral director could be observed and interviewed? The primary goal of this study was to discover the strategy and technique used by a successful high school choral director to achieve a beautiful choral tone quality in his ensembles. This case study revealed that the participant, Matt (pseudonym), had outlined five basic areas of technique that affect beautiful choral tone quality. These areas are posture, breath control, tone quality or resonance factors, vowels, and vocal freedom. This study also found that Matt developed a strategic plan and process in teaching these skills. The data further revealed that his philosophy and method of teaching were contributors to his success. The participant had defined his "ideal" choral tone quality and his philosophy involved not only developing vocal excellence but developing the whole person. Matt stated that tone quality is affected by both. The results of this study should help to enlighten choral directors, vocal instructors, and the music education field in general on how one can conduct successful choral rehearsals that will bring about a beautiful choral sound.

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