- The Oxford Handbook of Singing
- List of Contributors
- Structure and Function of the Singing Voice
- Voice Dysfunction and Recovery
- The Healthy Voice, Lifestyle, and Voice Protection (including Exercise, Body Work, and Diet)
- Physiology and its Impact on the Performance of Singing
- Breathing in Singing
- The Sound Source in Singing: Basic Principles and Muscular Adjustments for Fine-tuning Vocal Timbre
- The Vocal Tract in Singing
- The Acoustics of Different Genres of Singing
- The Developing Voice
- Perceptual Features in Singing
- The Impact of Location on the Singing Voice
- The Neuroscience of Singing
- Intonation in Singing
- Singing and Emotion
- Perceived Quality of a Singing Performance: The Importance of Context
- Defining and Explaining Singing Difficulties in Adults
- Vocal Performance in Occasional Singers
- Singing as Inter- and Intra-personal Communication
- Digital Libraries for Singing: The Example of the AIRS Project
- Socio-cultural, Acoustic, and Environmental Imperatives in the World of Singing
- Fetal, Neonatal, and Early Infant Experiences of Maternal Singing
- Mothers as Singing Mentors for Infants
- Singing and Invented Song-making in Infants’ and Young Children’s Early Learning and Development: From Shared to Independent Song-making
- Children Singing: Nurture, Creativity, and Culture. A Study of Children’s Music-Making in London, UK, and in West Bengal, India
- Singing and Vocal Development
- Boys’ Singing Voice Change in Adolescence
- Adolescent Girls’ Singing Development
- The Effects of Gender on the Motivation and Benefits Associated with Community Singing in the UK
- Voice Management and the Older Singer
- Systematic Development of Vocal Technique
- Addressing the needs of the adult “non-singer” (“NS”)
- Teaching the Professional Singer
- Mental Preparation for the Performer
- Conservatory Teaching and Learning
- Pedagogy of Different Sung Genres
- The Extra-normal Voice
- Vocal Music and Pedagogy of Chinese, African, and Indian Genres
- Contemporary Concepts and Practices of Choral Singing
- The Youth Choir
- Cultural History and a Singing Style: “The English Cathedral Tradition”
- Perspectives on Choral Conducting: Theory and Practice
- Group Singing and Social Identity
- Intonation and Staying in Tune in <i>A Cappella</i> Choral Singing
- Choral Singers’ Perceptions of Musical Leadership
- Can Singing have a Beneficial Effect on Lung Function and Breathing for People with Respiratory Illness?
- Singing and Psychological Needs
- The Effects and Benefits of Singing Individually and in a Group
- Unchained Melody: The Rise of Orality and Therapeutic Singing
- Historical Approaches in Revealing the Singing Voice, PART 1
- Historical Approaches in Revealing the Singing Voice, Part 2
- Ave Verum Pentium: Singing, recording, archiving, and analyzing within the digital domain
- Practical Voice Analyses and their Application in the Studio
- Future Perspectives
- Author Index
- Subject Index
Abstract and Keywords
China, Africa, and India have long vocal traditions dating back hundreds and even thousands of years. Supporting the vocal music of these countries and continents are pedagogical systems which are as much a part of the unique musical and cultural heritage of each location as the vocal music they serve. In many African countries and in China, the languages are tonal languages, each of which has wielded a strong influence upon the character of the country’s vocal music. This chapter examines the vocal music and vocal instruction of each country/continent, and also provides a description of current trends in vocal pedagogy. In particular, the influence of Western society and technology are discussed. Some countries, such as China, have undertaken government-led programs to preserve and promote earlier forms of music-making, while others have adapted to technological advancements by using new means to teach older traditions.
Yang Yang PhD is a solo singer in both Western classical and Chinese music. He received his PhD in music education from UCL Institute of Education. His doctoral research explored pedagogical challenges in the teaching and learning of traditional folk song performance (intangible cultural heritage) in higher education. This included an initial in-depth cultural inquiry into China’s higher music education policies since the 1900s, as well as extensive fieldwork with associated acoustic and qualitative data analyses. He is currently a Assistant Professor at the Education University of Hong Kong, and an Honorary Research Fellow at the School of Music, University of Queensland. Recent research publications cover singing pedagogy, psycho-acoustics, music psychology, and STEAM.
Aaron Carter-Ényì is an Assistant Professor of Music at Morehouse College in Atlanta, GA. He holds a PhD in Music Theory from Ohio State University, a Masters of Music degree in Choral Conducting from the University of Texas at San Antonio, and a Colleague Certificate from the American Guild of Organists. Aaron was a Fulbright Scholar to Nigeria in 2013 and a fellow of the American Council of Learned Societies (ACLS) in 2017. With his wife Quintina Carter-Ényì, Aaron was awarded first place in the 2015 Smartphone Application Design Competition held by the Signal Processing Committee of the Acoustical Society of America. His dissertation Contour Levels: An Abstraction of Pitch Based on African Tone Systems draws on two years of field research in Nigeria. Recent scholarship appears or is forthcoming in Africa (Journal of the International African Institute), Ethnomusicology, Music Theory Online, and Tonal Aspects of Languages.
Nandhu Radhakrishnan PhD is an Associate Professor and the Director of the Voice and Vocology Clinic at the Department of Speech and Hearing Sciences at Lamar University in Beaumont, Texas. He received his doctorate from Bowling Green State University, Ohio and completed his clinical fellowship at the University of Pittsburgh Voice Center, Pennsylvania. His areas of specialty include clinical, professional, and performance voice issues. He has published chapters and articles related to voice science and has conducted national and international workshops related to assessment and intervention of voice. He is a member of various organizations, including the Voice Foundation, Pan-American Vocology Association, and the Voice and Speech Trainers Association. Apart from his voice-related professional life, he is a stage artist, choreographer, and hobby-chef.
Sophie Grimmer has performed widely as a soloist in opera, oratorio, theater, and on the concert platform, both in the UK and abroad (English National Opera (ENO); Royal National Theatre (RNT); Banff, Canada; Aldeburgh Festival; Shakespeare’s Globe; Walt Disney Concert Hall, LA), under directors such as Simon McBurney, Sir Peter Hall, and Stephen Pimlott. Informed by her performing career, she works extensively in music education as a vocal professor at Trinity Laban Conservatoire of Music and Dance in London; devised voicework director at the Royal Academy of Dramatic Art (RADA); vocal consultant for National Youth Choirs of Great Britain (NYCGB); and soloist/creative director of music projects for Glyndebourne, ENO, Oxford Lieder Festival, and elsewhere. She has been funded by the Arts and Humanities Research Council (AHRC) at the UCL Institute of Education to research voice pedagogy in the Karnatic classical tradition of South India.
John Nix has a bachelor of music (voice performance, University of Georgia), a master of music education (arts administration, Florida State University), a master of music (voice performance, University of Colorado), and a certificate in vocology (University of Iowa). He is professor of voice and voice pedagogy at the University of Texas-San Antonio, and has an adjunct appointment in the Department of Speech Language Pathology at the University of Texas Health Sciences Center in San Antonio. His mentors include Barbara Doscher (singing, pedagogy) and Ingo Titze (voice science). His students have sung with the Santa Fe, Arizona, Chautauqua, St. Louis, Nevada, Omaha, and San Antonio opera companies, and two of his current or past students have been master teachers in the NATS Intern Program. In addition to his active voice teaching studio, he performs research in voice pedagogy, literature, and acoustics, having produced 38 published articles and 8 book chapters.
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