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- Osborne, Katherine, et al.
(författare)
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Building Timbre Discrimination and Critical Listening Skills in Classical and CCM Singing Students
- 2022
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Konferensbidrag (refereegranskat)abstract
- Singing teachers often recommend critical listening activities to their students, both to expose them to great performances by various singing artists and thereby set standards and provide references to evaluate their own work in practice sessions, singing lessons, and performances. However, inexperienced students often admit that they do not truly understand what they are supposed to be listening for in these recordings, falling back on pre-existing aesthetic preferences to judge the quality of the performances rather than considering and detecting perceptual information that can be connected to the physiological, acoustical, and musical characteristics of the performers and their artistic interpretations. Using the principles of “technical ear training” from sound engineering education (e.g. Corey & Benson, 2016, p. 3) that seek to strengthen critical listening skills, two university singing programs (Coastal Carolina Univerisity/USA and Musikhögskolan i Piteå/Sweden) adopted a listening activity to improve timbre discrimination skills in classical and CCM singing students. In a procedure developed with project advisor, M. Nyssim Lefford, Ph.D, M.S. (specialist in music production, music cognition, and auditory perception), each subject selected a short excerpt from a recording of a favorite singing artist with a similar voice type to their own and uploaded it into a program that allows the application of frequency filters. The excerpt was first played in its original form, followed by a series of repetitions using different combinations of filters applied to various frequency bands selected by the researchers to isolate important perceptual features of the singer’s voice and interpretational choices. This procedure was repeated two subsequent times with new student-selected recordings. Students wrote reflections after each session guided by general questions from the researchers. Results will be discussed and compared between the two subject groups along with implications for singing pedagogy and curricula and suggestions for future work.
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| 2. |
- Rollings Bigler, Amelia, et al.
(författare)
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Group Voice Instruction Strategies in University Settings: A Collective Case Study
- 2022
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Konferensbidrag (refereegranskat)abstract
- Many university music and theatre programs use group voice classes to train students of various majors (musical theatre, voice performance, music education, music therapy). Studies in other fields have examined the effects of both small and large group instruction on learning outcomes and found that group instruction facilitated both direct and indirect learning, helped foster a supportive learning environment, and elicited more student engagement and peer-to-peer feedback (e.g., Cho et al., 2016). Therefore, one might conjecture that group voice classes could be used to effectively supplement one-to-one voice lessons. Few studies in voice pedagogy have examined the effects of group voice training on voice performance outcomes; however, Clayne Robison, professor emeritus at Brigham Young University, found group voice instruction led to a ten-fold increase in faculty teaching efficiency, as group voice instruction was more effective (students improved three times faster than those enrolled only in private instruction) and more efficient in terms of faculty teaching load.The effectiveness and efficiency of group voice instruction will naturally depend on the teaching methods employed. The purpose of this collective case study was to explore the effects of various group voice instructional methods on student learning, engagement, and singing voice skill acquisition outcomes in university settings (N = 2) differing in terms of geography (Sweden and the USA) and primary singing style (classical and musical theatre). Results will be discussed in terms of the most effective teaching strategies for group voice instruction, potential differences in group teaching methodology informed by geography and primary singing style, and how these findings might impact the design of university program voice curricula in the future.
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