Singing

The yoik is a vocal technique practised by the Sámi of Northern Europe. It relies on circular melodies, chanted in everyday life and a cappella, with or without lyrics. Each melody evokes a particular being, usually a person, an animal species, or a place. ‘Yoiking them’ is a way of making them present, exploring an attachment, and unfolding memories. The yoik is considered by many of its practitioners as a gift received from the environment, a mysterious craft that they come to know through personal experience and experimentation.

This thesis is based on conversations with yoikers, active in either the ‘traditional’ or ‘modern’ practices, and an apprenticeship in the craft of yoiking. It constitutes a series of essays, or ‘philosophical variations’, aimed at taking the yoik seriously and unfolding some of its philosophical affordances. As in the musical variations on popular melodies by classical composers, writing the yoik in variation means hosting it within another practice bearing its own constraints and possibilities. Practices of yoiking and writing are thus put in a dialogue at times converging, at times diverging, but always intended to be mutually stimulating. Various voices from social anthropology, ethnomusicology, psychology, theology, ethology, and the history of philosophy join the dialogue along the way.

The variations are ‘philosophical’ in that each of them creates one concept: horizon, enchantment, creature, depth, echo, primordial. Each concept seeks to capture a layer of depth perceived in the yoik’s practice: (1) the risks of metamorphosis; (2) the chants of animals and the wind; (3) the creation of yoiks as outgrowths of the sensuous world; (4) the inner landscapes of humans; (5) the resurgence of past memories and of the dead; (6) the roots of human chants in a chthonic, original past; and (n) the power of repetition and interruption.

How To Sing From Your Diaphragm - How To Breathe From Your Diaphragm. In today's article I am going to discuss and demonstrate one of the basics of singing, how to breathe from your diaphragm.

If you have been singing for a while you may have heard someone tell you to breathe from your diaphragm. You will sing with more power, better tone and be able to sing longer phrases. That's all true but do you know what your diaphragm is and how to use it?

You actually can't breathe from your diaphragm. It can't hold air. It's not like your lungs. Your diaphragm is a muscle which is located under your lungs. It is shaped like a dome when it's in a resting position.

When you breathe in the air enters your lungs and forces your diaphragm to flatten out. This will push your lower ribs out and force the contents of your stomach down and out. This is the expansion that you can see when someone demonstrates how to breathe with the diaphragm.

There is one major thing you have to know about breathing. If you tense the muscles just below your ribs when you breathe in your diaphragm won't be able to flatten out. Your air will get trapped in the top half of your lungs and you will constantly feel out of breath when you sing. If you see your shoulders and chest move up when you breathe in it means you are not allowing your diaphragm to flatten out.

Here's an exercise that you can use to develop your breathing.

Bend over from your waist and let everything just relax and hang without any tension. Now take in a slow breath through your nose and focus all of the movement to your stomach and ribs. Feel the expansion as you breathe in.

What can you do to reach for higher notes with effortless strength? Is it possible to sing high notes without straining your voice?

To learn the killer, advanced strategies to become a better singer in just days, simply watch this video:

https://www.youtube.com/watch?v=goDDdMWpnXA

This study explored the personal narratives of six AFAB (“assigned female at birth”) singers – three cis and three trans/non-binary performers of varying ages, ethnicities and locales – to understand how their experiences informed their musical, vocal and gender identities and shaped their musical and vocal lives. Using a semi-structured interview process, the singers recounted their memories and understanding of significant events in their development, and together, each singer and I explored those recollections through a process of collaborative self-exploration. Emerging themes from those narratives underscored the need for further investigation into the intersection of AFAB voice, singing and gender, as both existing literature and the results of this study suggest a deeper understanding of the issues around gender socialization, normative expectations and voice is necessary to appropriately and effectively prepare singers at all levels of their musical and vocal education.

Study results found that there are many sources of socially-mediated influences which shape AFAB singers’ development of self, their individual and social identities, and their perceptions of their voice – particularly in the context of normative expectations that define gender and gender identities. While all study participants clearly experienced pleasure in musical performance, the narratives revealed a complex web of expectations and influences that contributed significant amounts of anxiety, with both physiological and psychological repercussions, to the performers’ lives. The ways in which the singers both fell victim to and addressed these sources of stress suggest many topics for further exploration and discussion within the professional voice and music education community, including the role of expert influence, the development of personal agency and perceived self-efficacy, as well as the need for individualized, holistic approaches to vocal pedagogy.

Take voice lessons to improve your singing ability The appeal of singing is incontestable. Popular programs built on vocal skills are American Idol, The Voice, and of course the X Factor. The success of Karaoke in local bars and restaurants draws attentions to the fact that we love to sing. Knowing how to sing is a tremendous ability to have if ever you're in a regional music group, want to karaoke, sing in a school choir, or you want to audition for programs along the lines of The Voice. Receiving voice lessons from a master can be very really expensive, so what are the alternative options if you truly want to learn to sing better? Good voice Lessons include many significant points for example: • Being prepared to reach the right note virtually every time-also known as Pitch Control • Expanding the range of your vocals so you know how to hit higher and lower notes • Many types of music and how to adapt your singing to any single style • Major and Minor Keys and various Scales in addition to training for each and every single one • Holding notes for a longer duration • Singing in Harmony so that you have the ability to sound magnificent with others • Singing with Feeling • Studying entire songs from front to back • Performance pointers and how to avoid stage fright • Making use of Breathing and Posture to enhance your singing • Helping with your natural Vibrato • Improving the Strength of your voice • Applying techniques with the microphone • Articulating your singing by using teeth, lips, and tongue There is much more to being a really good vocalist and taking voice lessons can noticeably help to increase your voice ability. Challenges with taking voice lessons from a master may include high cost, travel to and from the lessons, and scheduling troubles. Practical secrets to transforming into a remarkable vocalist can include: • Learn more at your own speed and build your individual style • Proper technique is essential, practicing and working with this will help with your abilities dramatically. • Calm your mind and body and focus primarily on singing. • Do not release all your breath when attempting to sing, that essentially makes your voice softer. Keep control of your breathing so the sound resonates. • Sing from your diaphragm, you will definitely manage to hold notes for a longer time and sing more

What can you do to reach for higher notes with effortless strength? Is it possible to sing high notes without straining your voice?

To learn the killer, advanced strategies to become a better singer in just days, simply watch this video:

https://www.youtube.com/watch?v=gNYVa0Kwv1A

Desde mediados del s. XX, la creciente disponibilidad de dispositivos electrónicos –tanto al interior como fuera de los ámbitos educativos– sumada al acceso masivo a información a través de Internet han favorecido la inserción de la tecnología en diferentes áreas y etapas del proceso de aprendizaje. En el campo de la Educación Musical, diversas investigaciones han indagado acerca de las formas en que estos nuevos recursos podrían facilitar el aprendizaje instrumental y musical, estimulando el desarrollo de los alumnos. En el caso de la Pedagogía Vocal, en particular , el uso de diversos dispositivos tecnológicos (como procesadores de voz y programas de entrenamiento vocal asistido por computadora) ofrecen herramientas didácticas alternativas a las tradicionales, haciendo posible, por ejemplo, el aprendizaje de la Técnica Vocal a través de plataformas web. Es así como las nuevas tecnologías modifican los ámbitos y las modalidades pedagógicas en los que se desenvuelve la clase de canto, como también el rol docente implicado. Partiendo de estas consideraciones, nos proponemos indagar de qué manera la tecnología impacta en la enseñanza del canto local y cuáles los principales usos didácticos que de ella se desprenden, a través de un relevamiento de datos mediante encuestas dirigidas a docentes de
canto de la ciudad de La Plata.

Patients with severe aphasia are rarely treated using speech therapy. We used music therapy to continue to treat a 79-year-old patient with chronic severe aphasia. Interventions 1, 2, and 3 were to practice singing a song that the patient knew, to practice singing a song with a therapist, and to practice saying a greeting using a song with lyrics, respectively. In addition, practice of uttering names of body parts was initiated using touch and rhythm. After intervention 1, the patient could sing spontaneously and repeat lyrics. After intervention 2, she could sing with the therapist, and sing spontaneously and repeat lyrics. After intervention 3, she could memorize words with meaning, say the words in context, and use them. The patient could utter the names of two body parts after therapy with touch and rhythm. These suggest that rehabilitation therapy can still be used in patients with severe cognitive impairment.

Time and Performer Training addresses the importance and centrality of time and temporality to the practices, processes and conceptual thinking of performer training. Notions of time are embedded in almost every aspect of performer training, and so contributors to this book look at: age/aging and children in the training context how training impacts over a lifetime the duration of training and the impact of training regimes over time concepts of timing and the ‘right’ time how time is viewed from a range of international training perspectives collectives, ensembles and fashions in training, their decay or endurance. Through focusing on time and the temporal in performer training, this book offers innovative ways of integrating research into studio practices. It also steps out beyond the more traditional places of training to open up time in relation to contested training practices that take place online, in festival spaces and in folk or amateur practices. Ideal for both instructors and students, each section of this well-illustrated book follows a thematic structure and includes full-length chapters alongside shorter provocations. Featuring contributions from an international range of authors who draw on their backgrounds as artists, scholars and teachers, Time and Performer Training is a major step in our understanding of how time affects the preparation for performance. https://www.routledge.com/Time-and-Performer-Training/Evans-Thomaidis-Worth/p/book/9780815396284

Learn How To Connect With Your Lyrics - How To Sing With Emotion. In the music world, if you already have plenty of money, you can write any kind of song in any fashion. You can use your money in the marketing of the song, to make up for any talent you lack in writing. It may not turn out to be a standard, or what some call a classic, but the song may have some short term success.

Now if you don't have the money and you want to know how to write a real song, this is the article for you.

This article is on the mechanics of writing a song. I have chosen one of my favorite songs for an example in this article.I wrote it a long time ago, but I still think it's a good song today. Though I believe it is a very good song, some may think the substance of the song could use some work.(in the creative field, we all have our own views, taste, and opinions) So this article is based on just the proper structure in the art of songwriting.

Well first of all, in writing a song one has to choose what song pattern they want to use. Some song patterns fit better for certain songs than others. I'm going to use shorthand to explain these song patterns. The letter V=verse. The letter C=chorus, and the letter B=bridge.

The most commonly used song patterns in the songs you hear on the radio are, VCVCBC, VVBV, VVCVBC, or something along that line. My song that I'll be using in this article "Down The Road Of Love" has a VVCVCBC song pattern to it.These are not only the most popular song patterns, but also the most successful ones writers use in writing a song.

What can you do to reach for higher notes with effortless strength? Is it possible to sing high notes without straining your voice?

To learn the killer, advanced strategies to become a better singer in just days, simply watch this video:

https://www.youtube.com/watch?v=I2qrqwnVVzY

Vocal training through singing and acting lessons is known to modify acoustic parameters of the voice. While the effects of singing training have been well documented, the role of acting experience on the singing voice remains unclear. In two experiments, we used linear mixed models to examine the relationships between the relative amounts of acting and singing experience on the acoustics and perception of the male singing voice. In Experiment 1, 12 male vocalists were recorded while singing with five different emotions, each with two intensities. Acoustic measures of pitch accuracy, jitter, and harmonics-to-noise ratio (HNR) were examined. Decreased pitch accuracy and increased jitter, indicative of a lower "voice quality," were associated with more years of acting experience, while increased pitch accuracy was associated with more years of singing lessons. We hypothesized that the acoustic deviations exhibited by more experienced actors was an intentional technique to increase the genuineness or truthfulness of their emotional expressions. In Experiment 2, listeners rated vocalists' emotional genuineness. Vocalists with more years of acting experience were rated as more genuine than vocalists with less acting experience. No relationship was reported for singing training. Increased genuineness was associated with decreased pitch accuracy, increased jitter, and a higher HNR. These effects may represent a shifting of priorities by male vocalists with acting experience to emphasize emotional genuineness over pitch accuracy or voice quality in their singing performances.

Hormone therapy (HT) is the administration of hormones in an attempt to relieve gender dysphoria by obtaining the phenotype and vocal quality of one’s gender identi-ty. The information contained in this article is designed to help transgender singers and their voice teachers understand what to expect vocally during initial changes that occur on testosterone therapy in order to build awareness around and facilitate the accommodation of this period of rapid vocal change.

Middle school general music is an experience that numerous music educators feel underprepared to teach. Because many undergraduate programs spend little time on this teaching scenario and because the challenges of middle school general music are different from those of elementary general music or middle school ensembles, teachers often lack the knowledge to create an appropriate curriculum for the clientele. The author will share her insight on teaching in this atypical scenario by looking at the middle school child and the middle school experience.

My heartfelt and eternal gratitude to Carolyn, my committee chair, faculty advisor, mentor, music therapy colleague, fellow Canadian in every way that counts, and long-time friend. Thanks for your supportive and nurturing encouragement, clarification, support, wisdom, dedication, guidance, and friendship over the past five years of this doctoral journey. You have inspired me to be my best self, to believe and have faith that I could do this, to give voice to what I know, and to value my intuitive knowing. Your generosity, love and giving spirit has made this journey a healing one for me. I honour and thank you for shining your light and showing us the way, having the courage to lead change by being who you are and staying true to self. To my committee members: Jon, I thank you for your wonderful teaching during the program, for your dedication and guidance in my proposal and dissertation, and for having ongoing curiosity and offering gentle support throughout my time at Antioch. Sanne, thank you for your dedication and support for my ILA and my dissertation. I have appreciated having you as a fellow music therapist traveler and someone who is committed to learning and sharing more about the use of voice in music therapy and music psychotherapy. To my external reader, Randi, thank you for your dedication and support in reading my proposal and final dissertation, offering me your wisdom, guidance and feedback. I have learned much from each one of you. To my five participants, thank you for saying yes to sharing your story, your vocal journey and your insights and awarenesses. You truly are the heroes in this research, and I applaud and appreciate your courage, your receptivity, and your willingness to share this journey with me, and now with others who read this dissertation. To my cohort 9 peer support group, Ruby and Susan, who faithfully offered your support,

This article summarizes currently available brain research concerning relationships between singing and language development. Although this is a new field of investigation, there are findings that are applicable to general music teaching classroom. These findings are presented along with suggestions about how to apply them to teaching music.

THE PREVIOUS INSTALLMENT OF "Mindful Voice," "Creativity in Crisis?," concluded with a look at some of the cognitive effects of digital technology, and what that technology's overuse may be wreaking upon human creativity. As I noted in that column, . . . creativity . . . does need mental space. And space implies time. The experts are still debating whether or not digital technology destroys concentration, but no one who uses it can dispute the fact that it gobbles up big chunks of our time.1 According to technology reporter Matt Richtel, in one recent year (2008), the average person consumed three times as much information each day as he/she did in 1960.2 This is almost entirely due to the limitless amount of information that is now so easily available via the Internet on personal computers and Smartphones. The question is, what is this information overload doing to our brains? That is exactly the question that author Nicholas Carr set out to investigate in h...

This session begins with the group singing "Funga Alafia." a Nigerian Welcome Song.) After singing the following questions are posed to the group: What has or has not changed since we sang together? What was the importance of singing together? What was emphasized? (tone quality? pitch? note reading?

Vuonna 2001 ilmestyneellä Vespertine-levyllä Björk laulaa: ”You’re trying too hard. Surrender. Give yourself in.” Undo-kappaleessa, josta kyseinen sitaatti on peräisin, tiivistyy yksi levyn keskeisistä teemoista – antautuminen. Björkillä on mielenkiintoinen tapa tulkita äänellään kappaleen sanat. Hän kiinnittyy ruumiillaan sanoihin luoden äänensä ja sanojen välille kohtaamisen. Näin syntyy merkityksiä ja kappaleen tulkinta. Miten lähestyä tuota äänen ja sanojen kohtaamista? Ja millaisia merkityksiä laulun sanoihin aukeaa, kun kiinnitämme huomiota Björkin ääneen ja sen pieniin vivahteisiin? Entä miten laulun ”minä” muodostuu tässä merkitysten leikissä? Lähestyn artikkelissani Björkin tulkintaa Julia Kristevan (1993) semioottinen/symbolinen-erottelun sekä Daniel Sternin (1985) vitaaliaffekti-käsitteen avulla. Menetelminäni ovat lisäksi empaattinen ja analyyttinen kuunteleminen. Ensimmäinen pohjautuu tutkijan omalle ruumiilliselle kokemukselle ja toinen lauluäänen yksityiskohtien erottelemiselle puheentutkimuksen termejä apuna käyttäen.

2010.07 - Κανελλάτου, Παρασκευή Γ. - Το Ελληνόφωνο Πολυφωνικό Τραγούδι στο Νότιο Τμήμα της Επαρχίας Πωγωνίου στην Ήπειρο

Περίληψη:
Εθνομουσικολογική μελέτη σχετικά με το ελληνόφωνο πολυφωνικό τραγούδημα του νοτίου τμήματος της επαρχίας Πωγωνίου στο γεωγραφικό διαμέρισμα της Ηπείρου. Στην εν λόγω ερευνητική εργασία δίνονται πληροφορίες για τη γεωγραφική κατανομή του συγκεκριμένου μουσικού φαινομένου και για το κοινωνικό πλαίσιο μέσα στο οποίο αναπτύχθηκε. Μουσικολογικά αναλύεται εκτενώς η μουσική δομή του πολυφωνικού τραγουδήματος και παρουσιάζεται η δομή, η σύσταση και η διάρθρωση των πολυφωνικών σχημάτων που το ερμηνεύουν. Τέλος, γίνεται μία συνοπτική αναφορά στα ελληνόφωνα πολυφωνικά σχήματα που ασχολούνται με  το συγκεκριμένο μουσικό είδος, καθώς και στην σχετική δισκογραφία και βιβλιογραφία που έχει εκδοθεί.


2010.07 - Kanellatou, Paraskevi G. -  The Greek Polyphonic Singing of the South-Pogoni Province in Epirus

Abstract:
This is an ethnomusicological study concerning the Greek polyphonic singing of the province of Pogoni in the geographical area of Epirus. In this paper, we are given information about the geographical distribution of the specific musical phenomenon and the social frame where it has been developed.  Musicologically, there is a detailed analysis of polyphonic singing as well as of the formation, the consistence and the possible structure of polyphonic groups.  Greek speaking polyphonic groups who interpret this specific music genre as well as the related discography and bibliography available are presented in the end.

Resumo: O artigo em questão aborda as possíveis relações entre linguagem e música, trazendo como objeto de análise o improviso vocal, mais especificamente o Scat singing. O projeto parte de uma análise do discurso musical e como ele se relaciona com discurso linguístico, tomando como ponto de partida a improvisação e os fonemas utilizados no Scat. Em seguida, partimos para um ponto de vista mais científico, apontando resultados de pesquisas na área da neurociência que relacionam música e linguagem em seus processos neurológicos. Palavras-chave: Linguagem. Música. Improviso vocal. Neurociência. Title of the Paper in English: The voice as a tool of the speech: parallels between spoken language and vocal improvisation Abstract: The article approaches the possible relations between language and music, bringing as object of analysis the vocal improvisation, more specifically Scat singing. The project starts from an analysis of the musical discourse and how it relates to linguistic discourse, taking as the starting point the improvisation and the phonemes used in Scat. We then proceed to a more scientific point of view, pointing to neuroscience research results that relate music and language to their neurological processes.

Infants who were 6 months of age were presented with extended audiovisual episodes of their mother's infant-8 directed speech or singing. Cumulative visual fixation of their mother's image and initial fixation times were longer 9 for maternal singing than for maternal speech. Moreover, movement reduction, which may signal intense engage-10 ment, accompanied visual fixation more frequently for maternal singing than for maternal speech. The stereotypy 11 and repetitiveness of maternal singing may promote moderate arousal levels, which sustain infant attention, in 12 contrast to the greater variability of speech, which may result in cycles of heightened arousal, gaze aversion, and 13 re-engagement. The regular pulse of music may also enhance emotional coordination between mother and infant. 14

Sociology provides a contextual milieu for pedagogy and provides a cultural explanation for pedagogical motives and method. In the world of sociology, the figurative voices of women and other minority groups have been thoroughly examined via feminist theory dealing with the oppressor and the oppressed. Within the last 20 years, children's voices are now included in the same paradigm providing much research and writing that focuses on the agency and empowerment of children, adult control, and the plasticity of children's behaviour. From a musician's perspective, I was curious about the correlation between the figurative and literal notion of voice prompting many questions pertaining to the true nature of the child singing voice. What social attitudes exist concerning children's singing voices? Who defines the child singing voice? Who decides and what controls the acceptable nature of the child singing voice? The following logic is used to place the child singing voice within a social context: • The human singing voice embodies and reflects the society and culture that surrounds it. • The human singing voice can be creative and original, but it also imitates and mirrors the predominant society or culture in which it resides.

What you are about to read is a new theory about the cause, and prevention, of thyroid disease. We believe a simple lifestyle issue that characterizes modern life is leading to thyroid dysfunction. It’s something you can test for yourself, on yourself. And the concept itself will change the way science thinks about thyroid function.

This paper presents a puzzle game for early detection of dementia embedded with a singing interface for promoting mental health. In recent years, dementia has become a social problem worldwide, and early detection is regarded as a key for successful treatment. Moreover, spatial navigation is an essential factor for early detection. Therefore, we develop a maze-like puzzle game that the player has to navigate the maze’s exit. Furthermore, gameplay logs can then be used to analyze the cognitive state of the players and assess the risk of dementia. However, as found in existing systems, cognitive assessment could put pressure and stress on players. Therefore, we integrate a singing interface into the game as a mini-game. The mini-game will appear when the system detects that the player gets lost in the maze. After completing the mini-game, hints will be generated to help the player. This design is expected to help relieve stress and promoting mental well-being.

Rendering Melodies with Overtones A single singer but two voices? Experience that situation by visiting world-voice-day.org/EDU/Movies and check the second movie with the title “Sehnsucht nach dem Frühlinge (Mozart) — Anna-Maria Hefele (AMH). There, coauthor AMH sings a song by Mozart, first with her singing voice and then with two simultaneous voices, a drone (a low-pitched, continuously sounding tone) plus a whistle-like high-pitched tone that renders the melody. How is this possible? That is the question that we pose here. Let us start by recalling how sounds are created by the instrument AMH is playing, the human voice.

El estudio de la voz está integrado por numerosos factores que determinan el resultado final. A la hora de abordar el estudio de la voz es conveniente contemplar el cuerpo humano como una fuente inagotable de recursos que potencian y facilitan la expresión, la interpretación y la comunicación a través de la voz. Para ello, es necesario conocerlo y descubrir sus posibilidades. En el siguiente artículo se analiza la interacción existente entre la voz y el cuerpo, tanto en la voz hablada como cantada.

Body awareness as an essential basic in vocie education.
Voice studies are made up of various factors that determine the final result. When looking at voice studies it is convenient to contemplate the human body as a limitless source of resources that promote and facilitate expression, interpretation and communication trough the voice. Therefore we need to know about it so as to find out its possibilities. In the following article we analyse the existent interaction between the voice and body as much in the spoken voice as in singing.

People with stroke or Parkinson's disease (PD) live with reduced mood, social participation and quality of life (QOL). Communication difficulties affect 90% of people with PD (dysarthria) and over 33% of people with stroke (aphasia). These consequences are disabling in many ways. However, as singing is typically still possible, its therapeutic use is of increasing interest. This article explores the experiences of and factors influencing participation in choral singing therapy (CST) by people with stroke or PD and their significant others. Participants (eight people with stroke, six with PD) were recruited from a community music therapy choir running CST. Significant others (seven for stroke, two for PD) were also recruited. Supported communication methods were used as needed to undertake semi-structured interviews (total N = 23). Thematic analysis indicated participants had many unmet needs associated with their condition, which motivated them to explore self-management options...

The present work seeks to present a brief panorama of Brazilian choral compositions based on indigenous musical themes and, through a historical and musical analysis of some of these works, to comment on the compositional processes that reflect the artist's and the society's vision of the indigenous music within Brazilian culture. This paper was presented as part of a live presentation in which listening examples were used to augment written material as well as to give the audience an aural example of the music being discussed; as such, the author encourages readers to consult the listing of musical examples used for the presentation at the end of this paper.

Dette essay præsenterer nogle overvejelser over de betingelser, inden for hvilke salmesang bliver til. I fokus er ikke så meget salmerne som tekstlige eller musikalske genrer, men i højere grad den gensidige afhængighed, som opstår mellem ord og toner i salmesangen. Et centralt greb i dette essay er at betragte salmesang som resultatet af noget, man gør. Det er en handling, som bliver til et sangligt udtryk. Hvis ingen gør noget, er der ingen salmesang. Det er med andre ord ikke en ting, ikke noget man kan læse eller se på. Man kan lytte til det, men det kræver, at man selv eller andre synger. Essayet tager udgangspunkt i, at salmesang er et praktisk-musikalsk fænomen, som (oftest) foregår i et sangligt fællesskab. Det sanglige udtryk må derfor være betinget af fællesskabet og de normer, som man bevidst eller ubevidst er blevet enige om. Der kan være nogle af de deltagende, der ikke kender normerne eller bare ikke vil følge dem. Salmesang som et sangligt fænomen er derfor i sig selv defineret af den mangfoldighed, som den forsamling, der synger sammen, repræsenterer. For at underbygge denne idé forfølger essayet en forestilling om, at salmer opstår som sangligt udtryk i en forhandling mellem det tekstlige og det musikalske.

Resumen: Raphael ha sido y es uno de los cantantes más destacados de la historia de España. Es conocido mundialmente por la temática de sus canciones (el amor y el desamor), por su timbre de voz y por su singular manera de interpretar. Sobre esta última característica se centra este estudio: su comunicación no verbal. Perseguimos el objetivo de averiguar qué elementos hacen peculiar su manera de interpretar en los escenarios y dilucidar cómo esto ha ayudado a su conexión con el público a lo largo de su carrera tan dilatada. La metodología seguida es la observación de actuaciones en directo y el análisis de los elementos pertinentes para una definición estilística, así como la realización de una entrevista en profundidad al cantante. Además, hacemos una adaptación de los tres pilares de la retórica aristotélica de la comunicación y un amplio análisis de los componentes y patrones de la comunicación no verbal que propone Miles Patterson. Dada la inexistencia de estudios analíticos previos, presentamos una visión global que permitió detectar un «manierismo raphaelista» y un perenne intento de conexión con el público, claves del éxito del cantante a lo largo del tiempo, pese a las dificultades actuales de la industria discográfica. Palabras clave: Cantante – Comunicación –Interpretación –Expresión. [Note] The Pragmatics of Raphael's Nonverbal Communication Summary: Raphael has been, and is, one of the most outstanding singers in the history of Spain. He is known worldwide for the themes of his songs (love and heartbreak), for his voice and for his unique way of interpreting. This study focuses on this last feature: in his nonverbal communication. We pursue the goal of finding out which elements make his way of interpreting on the stage so peculiar and explain how this has helped his connection with the public throughout his long career. The methodology followed is the observation of live performances and the analysis of the relevant elements which can be extracted for a stylistic definition, as well as the realization of an in-depth interview with the singer. In addition, we make an adaptation of the three pillars of the Aristotelian rhetoric of communication and a broad analysis of the components and patterns of nonverbal communication proposed by Miles Patterson. Given the lack of previous analytical studies, we present a global vision that allowed to detect a " Raphaelist mannerism " and a perennial attempt to connect with the public, keys to the success of the singer over time, despite the current difficulties of the record industry.

The benefit of singing for people with acquired brain conditions is becoming wellestablished. The CeleBRation Choir at The University of Auckland's Centre for Brain Research was established in September 2009 for people with neurological conditions, carers and supporters. The community choir is the first of its type in New Zealand. This paper describes the process of establishing the choir, and evaluates the perceived benefits for members with Parkinson's disease or non-fluent aphasia. The choir has generated great support within the New Zealand community. Future research is envisaged, to investigate our preliminary conclusion that group choral singing is an enjoyable social and community oriented therapeutic approach for people with brain disease.

5.1 Einleitung: Singen als elementarer sprach-­‐musikalischer Ausdruck Zu den Besonderheiten, die den Menschen von anderen höher entwickelten Primaten unterscheidet, gehört ein variationsreiches Potenzial an vokal-­‐artikulatorischen Ausdrucksmöglichkeiten. Dieses ist phylogenetisch entstanden und biologisch determiniert. Im Verlaufe der Evolution hat der Mensch seine körperlichen Möglichkeiten der Lautgebung zu humanspezifischen Formen wie Sprechen, Singen, Lachen, Weinen usw. differenziert. Diese Ausdrucksformen haben wichtige Funktionen in der Gestaltung des Zusammenlebens der Menschen. Von Geburt an dient die Stimme dazu, mit anderen Menschen in Kontakt zu treten, Wirkungen herzustellen und Befindlichkeiten Ausdruck zu geben. Zuerst geschieht dies durch unkultivierte Signale, dann durch idiosynkratische und intersubjektive Zeichen, und mit fortschreitender Sozialisation werden die in der soziokulturellen Umgebung kollektiv geltenden sprachlichen und musikalischen Lautsymbole und...

Breathing instruction for classical singing is becoming more physiologically focused, yet the effect of chest-wall kinematic directives on breathing behaviour is largely unexplored. Five female classical singers sang Caccini's Ave Maria without directive and under two directives: 'steadily pull the abdomen inward' and 'steadily expand the abdomen' through each phrase. The directives had a statistically significant effect on chest-wall dimension at initiation of phrase and on excursion, but dimension at termination of each phrase reverted to habitual behaviour. Rib-cage dimensional change counteracted abdominal change so that lung volume measures were consistent within singer across all breathing conditions. The results have implications for the distinction between consciously controlled and innate respiratory behaviours in singing. Implications for singing pedagogy are discussed.

How To Properly Belt When Singing - How To Always Sing On Key. Many singers desire a vibrato in their voice because it lends a lovely quality. The question is if you do not have it naturally-can it be acquired? If so, how is it controlled and what areas of the "vocal apparatus" does it use? Well, it can be a difficult quality to master. As a matter of fact, there is a lot of controversy over what it even is exactly and why it even exists! Let us at least tell you what we know about it:

Vibrato is a vocal tone that has an even fluctuation. The diaphragm is involved in some way,but we are not sure how. You can expel the breath from the diaphragm forcibly,and you can influence the throat and mouth opening too to sort of "fake it". It is really quite difficult to describe. We feel, however,that force is never good,or any kind of manipulation which,invariably,will lead to excessive straining of the voice.Many rock singers know this to their cost!

What we want to see ideally is freedom of voice-focused and clear- which will have, inherently, the minor vocal fluctuation which gives automatically, a slight vibrato.

The way to get vibrato is to learn natural singing techniques which will not push your voice too much,and which focusses more on tone and control than power. We need to explain that what some call "vibrato" is in fact really a "tremolo,"which comes from forcing the voice,and feels and sounds totally unnatural.

What can you do to reach for higher notes with effortless strength? Is it possible to sing high notes without straining your voice?

To learn the killer, advanced strategies to become a better singer in just days, simply watch this video:

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Integrative Performance serves a crucial need of 21st-century performers by providing a transdisciplinary approach to training. Its radical new take on performance practice is designed for a climate that increasingly requires fully rounded artists. The book critiques and interrogates key current practices and offers a proven alternative to the idea that rigorous and effective training must separate the disciplines into discrete categories of acting, singing, and dance.

Communicating through caregiver singing during morning care situations in dementia care It is well known that persons with dementia (PWD) have problems expressing and interpreting communication, making interaction with others difficult. Interaction between PWD and their caregivers is crucial, and several strategies have been investigated to facilitate communication during caregiving. Music therapeutic caregiving (MTC) -when caregivers sing for or together with PWD during caregiving activities -has been shown to enhance communication for PWD, evoking more vitality and positive emotions. The aim of this study was to describe how PWD and their caregivers express verbal and nonverbal communication and make eye contact during the care activity 'getting dressed', during morning care situations without and with MTC. Findings revealed that during the situations without MTC, the caregivers led the dressing procedure with verbal instructions and body movements and seldom invited the PWD to communicate or participate in getting dressed. Patterns in responses to caregivers' instructions included both active and compliant responses and reactions that were resistant and aggressive, confused, and disruptive. In contrast to the 'ordinary' morning care situation, during MTC, the caregivers seemed interested in communicating with the PWD and solicited their mutual engagement. Although verbal communication consisted of singing about things other than getting dressed, e.g. dancing, love, sailing, God, the PWD mostly responded to caregivers in a composed manner, by being active, compliant, and relaxed, though some were also resistant or incongruent. The authors conclude that MTC could be a way for PWD and their caregivers to successfully interact and co-operate during caring situations, as it seems to evoke enhanced communication for both partners in this context.

Even if you are born with a great singing voice, it is still necessary to practice it to maintain or enhance it. Your voice is an instrument that needs training and practice so it improves. Fortunately, there are lots of exercises that teach you to breathe or vocalize properly