| 1. |
- Rosenkull, Bo
(författare)
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Sing!
- 2022
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Ingår i: International Conference of Voice Teachers (ICVT) Vienna, Austria.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- In order to be a well-equipped voice pedagogue today it is important to provide a wide set of skills. In work with children, adolescents, and adult amateurs, it can be essential to be familiar with different genres and music from different cultures; some students want to sing jazz and pop, and others prefer musical theatre or classical singing. Also, in work with advanced students and professionals it is important to have access to different tools in order to efficiently work with an incremental vocal and musical progression. Sometimes it is fruitful to work with classical exercises for a pop singer, and occasionally also the opposite. An alert and active body is necessary to enable embodied singing and therefore, the relation voice-movement is crucial. Some singers need to work to find a good postural alignment and access to the body as a framework, others have to pay attention to unnecessary tensions, rigidity and lack of flow, while others need to find more energy and activity. Besides from creating the prerequisites for good singing some easy movements might helpful to gather a group in a good way. Sometimes it is a gap between the warming-up exercises we do and the songs we sing. Occasionally, we get bored of traditional scales, triads or other exercises we have done for years. So, in this workshop I shall introduce some of my songs and exercises that I have composed - exercises for solo, ensemble and choir. These exercises can be considered as: a bridge between more traditional exercises and the repertoire at hand, a way of getting started, a way of focus on listening, a way of connecting body and voice or just a way of challenge the singers with new things in a joyful way. The exercises could be regarded as a complement to the more traditional warming up exercises. During this session we will work with; Scandinavian folklore, rap, beat-boxing, Middle East and Asian inspired exercises, tongue-twisters, classic singing, pop, body percussion and rounds. So, come and Sing!
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| 2. |
- Saldías, M., et al.
(författare)
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The Vocal Tract in Loud Twang-Like Singing While Producing High and Low Pitches
- 2021
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Ingår i: Journal of Voice. - : Elsevier BV. - 0892-1997 .- 1873-4588. ; 35:5, s. 807.e1-807.e23
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Tidskriftsartikel (refereegranskat)abstract
- Twang-like vocal qualities have been related to a megaphone-like shape of the vocal tract (epilaryngeal tube and pharyngeal narrowing, and a wider mouth opening), low-frequency spectral changes, and tighter and/or increased vocal fold adduction. Previous studies have focused mainly on loud and high-pitched singing, comfortable low-pitched spoken vowels, or are based on modeling and simulation. There is no data available related to twang-like voices in loud, low-pitched singing. Purpose: This study investigates the possible contribution of the lower and upper vocal tract configurations during loud twang-like singing on high and low pitches in a real subject. Methods: One male contemporary commercial music singer produced a sustained vowel [a:] in his habitual speaking pitch (B2) and loudness. The same vowel was also produced in a loud twang-like singing voice on high (G4) and low pitches (B2). Computerized tomography, acoustic analysis, inverse filtering, and audio-perceptual assessments were performed. Results: Both loud twang-like voices showed a megaphone-like shape of the vocal tract, being more notable on the low pitch. Also, low-frequency spectral changes, a peak of sound energy around 3 kHz and increased vocal fold adduction were found. Results agreed with audio-perceptual evaluation. Conclusions: Loud twang-like phonation seems to be mainly related to low-frequency spectral changes (under 2 kHz) and a more compact formant structure. Twang-like qualities seem to require different degrees of twang-related vocal tract adjustments while phonating in different pitches. A wider mouth opening, pharyngeal constriction, and epilaryngeal tube narrowing may be helpful strategies for maximum power transfer and improved vocal economy in loud contemporary commercial music singing and potentially in loud speech. Further studies should focus on vocal efficiency and vocal economy measurements using modeling and simulation, based on real-singers’ data.
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| 3. |
- Hentschel, Linn, 1980-
(författare)
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Att bli en sjungande tonårspojke : en livshistoria om att sjunga tillsammans med andra i skolan
- 2022
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Ingår i: Samsang gjennom livsløpet. - : Cappelen Damm Akademisk. - 9788202764623 - 9788202716356 - 9788202766443 - 9788202766436 - 9788202766450 ; , s. 173-197
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Bokkapitel (refereegranskat)abstract
- This chapter aims to present knowledge about teenage boys’ experiences of singing together in school. The study that the chapter is based on uses a phenomenological, gender theoretical and music didactic perspective. Earlier research shows that singing is practiced, and anticipated to be practiced more often by girls than boys in Western societies and schools. An analysis of interviews with the student Andreas and his music teacher Victor is presented, as they explore co-singing in a music profiled class in elementary school. The interviews were performed in 2013 and 2020, and analysed and presented as a «life story». It entails Andreas’ journey from being a teenage boy who refuses to sing in school to becoming a teenage boy who sings, and the role that Victor, as a music teacher, plays in Andreas’ journey. The chapter shows several gendered and pedagogical aspects in Andreas’ situation that influence him to at first mime and later on sing during choir lessons – especially the perception of singing as feminine coded and singing knowledge in choir
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| 4. |
- Alsved, Malin, et al.
(författare)
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Exhaled respiratory particles during singing and talking
- 2020
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Ingår i: Aerosol Science and Technology. - : Informa UK Limited. - 1521-7388 .- 0278-6826. ; 54:11, s. 245-1248
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Tidskriftsartikel (refereegranskat)abstract
- Choir singing has been suspended in many countriesduring the Covid-19 pandemic due to incidental reportsof disease transmission. The mode of transmission has been attributed to exhaled droplets, but with the exception of a study on tuberculosis from1968, there is presently almost no scientific evidence ofincreased particle emissions from singing. A substantial number of studies have,however, investigated aerosols emitted from breathing,talking, coughing and sneezing. It has also been shown that justnormal breathing over time can generate more viablevirus aerosol than coughing, since the latter is a less fre-quent activity.Compared to talking, singing often involves continu-ous voicing, higher sound pressure, higher frequencies,deeper breaths, higher peak airflows and more articu-lated consonants. All these factors are likely to increaseexhaled emissions.The aim of this study was to investigate aerosol anddroplet emissions during singing, as compared to talking and breathing. We also examined the presence of SARS-CoV-2 in the air from breathing, talking and singing,and the efficacy of face masks to reduce emissions. In this study we defined aerosol particles as having a drysize in the range 0.5–10mm. Although debatable from anaerosol physics point of view, a cutoff diameter between5 and 10mm is normally used in medicine for classifica-tion of aerosol versus droplet route of transmission. Droplets are here defined as exhaled particles, frommicron size with no upper size limit, and measured dir-ectly at the mouth before complete evaporation, thuspartly in liquid phase.
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| 5. |
- Arvidsson, Alf, 1954-
(författare)
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Guest Editor's column
- 2021
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Ingår i: Puls. - : Svenskt visarkiv. - 2002-2972. ; 6, s. 5-13
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 6. |
- Berglund, Carl Johan, Teologie doktor, 1973-
(författare)
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Liturgies as Plot Devices in Apocryphal Acts
- 2021
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Konferensbidrag (refereegranskat)abstract
- This paper takes a novel approach to the liturgical material in the Apocryphal Acts of Andrew, John, Paul, Peter, and Thomas, by considering how the liturgical practices of anointing, baptism, Eucharist, and singing of psalms contribute to the plots of the narratives in which they are found. By this analysis, various combinations of anointing, baptism, and Eucharist are found to be used to confirm a character’s conversion to a Christian faith, the Eucharist is used to strengthen the sense of community within a group of Christians, and both the Eucharist and singing of psalms are used to give a character encouragement in a dangerous situation. Thereby, the narratives depict conversion, community, and courage as reasons to participate in Christian liturgical practices.
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| 7. |
- Dobewall, Mareike, 1984-
(författare)
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Voicelanding - Exploring the scenographic potential of acoustic sound in site-sensitive performance
- 2021
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- This practical artistic research project (Documented Artistic Research Project (Doctoral Thesis)) explores how the performance of acoustic sound in dialogue with site can create a sonic scenography, experienced by an audience from within the sonic structures. Six art projects were carried out in the context of this research. Their form varies due to the site-sensitive approach that is employed: the space and the participating musicians are both the source and the frame for the resulting spatial sound performances.During workshops the collaborating musicians are introduced to site-sensitive methods. They learn full-body listening, spatial sounding, and space-care. The musicians learn to co-create with the space. In a collaborative process, spatial sound compositions are created using the site-specific sonic material that is elicited from the dialogue between the performers and the space. The relation to the audience plays an important role in the sharing of the performance space and the experience of the sonic scenographies. Therefore, active audience encounter is considered practiced during the creative process towards the performance and it is further explored during each performance.As sound is invisible and ephemeral it is a vulnerable material to engage with when creating scenographies. In this research its instability has revealed itself as an indispensable quality of a scenography that aims to connect the elements of a shared space and to make their relations perceivable.There is a tendency to make ‘reliable’ material scenographies and to sustain spatial sound through audio systems while attempting to overcome the challenges a site brings to performance. This approach to performance, scenography, and spatial sound composition, however, limits the relation between acoustic sound and site. In my sonic scenographies the performers are dependent on the dialogue with the space in order to create sonic structures that can be experienced by an audience. The attention needed for this collaboration is space-care. It includes care for all entities in the space, and especially the audience. The ephemeral quality of acoustic sound creates an active sonic scenography that performs together with the musicians, and engages multimodal listening.The resulting spatial sound performance includes the placement and movement of sonic expressions that are specific for each instrument-site relation. In the created performance, as the audience can ‘roam through’ it, they can experience a sonic scenography that unfolds around them. In the interaction of performers and audience in these shared spaces (architectural space and sonic space) a social space can develop that allows for an ephemeral community to emerge.
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| 8. |
- Fornhammar, L., et al.
(författare)
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Measuring Voice Effects of Vibrato-Free and Ingressive Singing : A Study of Phonation Threshold Pressures
- 2022
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Ingår i: Journal of Voice. - : Elsevier BV. - 0892-1997 .- 1873-4588. ; 36:4, s. 479-486
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Tidskriftsartikel (refereegranskat)abstract
- Background: Phonation threshold pressure (PTP), showing the lowest subglottal pressure producing vocal fold vibration, has been found useful for documenting various effects of phonatory conditions. The need for such documentation is relevant also to the teaching of singing, particularly in view of vocal demands raised in some contemporary as well as early music compositions. The aim of the present study was to test the usefulness of PTP measurement for evaluating phonatory effects of vibrato-free and ingressive singing in professional singers. Methods: PTP was measured at a middle, a high and a low pitch in two female and two male singers before and after recording voice range profiles (i) in habitual technique, ie, with vibrato, (ii) in vibrato-free, and (iii) in ingressive phonation. Effects on vocal fold status were examined by videolaryngostroboscopy. Results: After careful instruction of the singers, no problems were found in applying the PTP method. In some singers videolaryngostroboscopy showed effects after the experiment, eg, in terms of increased mucus and more complete glottal closure. After ingressive phonation PTP increased substantially at high pitch in one singer but changed marginally in the other singers. Conclusion: The method seems useful for assessing and interpreting effects of singing in different styles and as a part of voice diagnostics. Therefore, it seems worthwhile to automatize PTP measurement.
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| 9. |
- Hentschel, Linn, 1980-
(författare)
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Singing situations : a phenomenological study of singing in lower secondary music education (7th and 9th form)
- 2021
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Konferensbidrag (refereegranskat)abstract
- This thesis explores how the phenomena of ”singing situations” are made visible through pupils and music teachers' experiences of music education in a Swedish school, through an existential philosofical gender perspective. A basic point of departure in the thesis is that singing development is possible to evolve for all humans, similar to the latest curriculum for the music subject in elementary school in Sweden. The thesis can be positioned within four research areas: gender research in Swedish school, vocal- and voice research, gender related music education research and gender related music education research on singing. The latter research area constitutes the area in which the present dissertation is closest positioned to. Several researchers whose research is positioned in the area of gender related music education research expresses the need for more research similar to their own contributions. Within the study, five field visits have been conducted over two years involving seventyone pupils and five music teachers. The study includes observations and interviews, as well as sound recording and notes, and has focused solely on singing situations - situations in which singing appears in the participants' experiences in different ways. It was of research interest to meet pupils with experience of voice changes during puberty, as the majority of previous research presents the voice change as an experience that primarily or only boys experience. A very limited minority of research investigates how girls experience the voice change during puberty. The empirical data has been analyzed through seven phenomenological steps. The overall results show that all pupils sing and that many enjoy singing in school, with exception for one girl. The teachers' basic starting point in their teaching is to treat singing ability as possible to develop for all pupils. According to the teachers' basic view of singing ability as transcendence, the result shows that different normative and structural aspects surround the pupils and teachers. The result also show how these aspects impacts pupils choices in the singing situations, and that some pupils are given greater opportunities to transcend in their vocal learning than others. The results are discussed through themes that arise within the results, mainly: subjective and intersubjective experience through singing, habitual singing, norms of restraint and imitation, girls' and boys' singing situations, views on the singing body as factuality or freedom in relation to gender, as well as the creation of alternative spacess in singing situations.
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| 10. |
- Jers, Harald, et al.
(författare)
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Vocal Ensembles : Chapter 20
- 2022. - 1
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Ingår i: The Oxford Handbook of Music Performance, Volume 2. - : Oxford University Press. ; , s. 398-417
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Bokkapitel (refereegranskat)abstract
- A typical performance situation of a vocal ensemble or choir consists of a group of singers in a room with listeners. The choir singers on stage interact while they sing, since they also hear the sound of the neighboring singer and react accordingly. From a physical point of view, the choir singers can be regarded as sound sources. The properties of the room influence the sound and the listeners perceive the sound event as a sound receiver. Furthermore, the processes in the choir can also be described acoustically, which affects the overall performance. The room influences the timbre of the sound on their way to the audience, the receiver. Reflection, absorption, diffraction, or refraction influence the timbre in the room. The sound in a performance space can be distinguished between a near field very close to the singer and a far field. The distance at which the far field can be assumed is strongly dependent on the acoustics of the room. Especially for singers within a choir, the differentiation between those sound fields is important for hearing oneself and the other singers. The position of the singers, their directivity, and the seating position of the listener in the audience will have an influence on listener perception. Furthermore, this chapter gives background information on intonation and synchronization aspects, which are most relevant for any vocal ensemble situation. Using this knowledge, intuitive behavior and performance practice can be explained and new adaptations can be suggested for singing in vocal ensembles.
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