東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back to Search results for [ null ]

Switch To: Labeled | MARC Mode | ISBD

Linked to FindBook

Google Book

Amazon

博客來

From Classical Music to Contemporary Music Theatre : = A Pedagogical Compendium for the Crossover Teacher.

Record Type:	Electronic resources : Monograph/item
Title/Author:	From Classical Music to Contemporary Music Theatre :/
Reminder of title:	A Pedagogical Compendium for the Crossover Teacher.
Author:	Higgins, Stephanie.
Description:	1 online resource (272 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 84-05, Section: A.
Contained By:	Dissertations Abstracts International84-05A.
Subject:	Pedagogy. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29210710click for full text (PQDT)
ISBN:	9798834060079

From Classical Music to Contemporary Music Theatre : = A Pedagogical Compendium for the Crossover Teacher.
Higgins, Stephanie.

From Classical Music to Contemporary Music Theatre :A Pedagogical Compendium for the Crossover Teacher. - 1 online resource (272 pages)

Source: Dissertations Abstracts International, Volume: 84-05, Section: A.

Thesis (D.M.A.)--University of Toronto (Canada), 2022.

Includes bibliographical references

The landscape of the collegiate voice teacher has changed considerably in recent years. From 2010-2016 total enrollment of vocal performance majors has declined 23% while enrollment in music theatre programs has grown by 33%. Research on cross-training in students earning undergraduate and graduate degrees in voice performance revealed nearly two-thirds of 2017 graduates did not receive specific training regarding the commonalities or differences between singing music theatre and opera, while 60% of graduates did not feel prepared for the current demands of either style (Saunders-Barton and Spivey, 2018). Classical music schools and conservatories are increasingly offering voice performance degrees in contemporary commercial music (CCM) styles (i.e., those found in music theatre such as country, folk, rock, pop, hip-hop and rap, gospel, and R&B), yet there are only three graduate programs for non-classical vocal pedagogy across North America.Although these vocal styles are widespread in contemporary culture and contemporary music theatre, the development of crossover vocal pedagogy based in voice science and functional physiology is nascent. In response to the need for functional crossover vocal pedagogy, this dissertation addresses the concerns of voice instructors in teaching current music theatre styles. Using lesson observations, this work will also act as a comparative assessment on stylistic and technical points of convergence and divergence between CCM styles found in music theatre and classical singing, culminating in a practical pedagogical compendium for the crossover teacher. Chapters 1- 3 examine the history of music theatre styles, assess commonalities and differences between CCM resources, and provide evidence-based research for use in the crossover lesson setting. The compendium of Chapter 4 is designed to help classical voice instructors teach the CCM styles of music theatre. Ultimately, commonalities found in Body Engagement, Imagery or Analogy, Questions to Facilitate Learning, Physical Demonstration, and Vocal Demonstration offer classical teachers confidence in their existing pedagogical knowledge when teaching contemporary music theatre. Divergent themes in Acting, Alignment, Registration, and Resonance highlight the need for further study of functional vocal pedagogy in CCM styles.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798834060079Subjects--Topical Terms:

2122828
Pedagogy.
Subjects--Index Terms:

Vocal performance majorsIndex Terms--Genre/Form:

542853
Electronic books.

From Classical Music to Contemporary Music Theatre : = A Pedagogical Compendium for the Crossover Teacher.
LDR:03766nmm a2200397K 4500 001 2359041
005 20230906055256.5
006 m o d
007 cr mn ---uuuuu
008 241011s2022 xx obm 000 0 eng d
020 $a 9798834060079
035 $a (MiAaPQ)AAI29210710
035 $a AAI29210710
040 $a MiAaPQ $b eng $c MiAaPQ $d NTU
100 1 $a Higgins, Stephanie. $3 3699599
245 1 0 $a From Classical Music to Contemporary Music Theatre : $b A Pedagogical Compendium for the Crossover Teacher.
264 0 $c 2022
300 $a 1 online resource (272 pages)
336 $a text $b txt $2 rdacontent
337 $a computer $b c $2 rdamedia
338 $a online resource $b cr $2 rdacarrier
500 $a Source: Dissertations Abstracts International, Volume: 84-05, Section: A.
500 $a Advisor: MacDonald, Lorna.
502 $a Thesis (D.M.A.)--University of Toronto (Canada), 2022.
504 $a Includes bibliographical references
520 $a The landscape of the collegiate voice teacher has changed considerably in recent years. From 2010-2016 total enrollment of vocal performance majors has declined 23% while enrollment in music theatre programs has grown by 33%. Research on cross-training in students earning undergraduate and graduate degrees in voice performance revealed nearly two-thirds of 2017 graduates did not receive specific training regarding the commonalities or differences between singing music theatre and opera, while 60% of graduates did not feel prepared for the current demands of either style (Saunders-Barton and Spivey, 2018). Classical music schools and conservatories are increasingly offering voice performance degrees in contemporary commercial music (CCM) styles (i.e., those found in music theatre such as country, folk, rock, pop, hip-hop and rap, gospel, and R&B), yet there are only three graduate programs for non-classical vocal pedagogy across North America.Although these vocal styles are widespread in contemporary culture and contemporary music theatre, the development of crossover vocal pedagogy based in voice science and functional physiology is nascent. In response to the need for functional crossover vocal pedagogy, this dissertation addresses the concerns of voice instructors in teaching current music theatre styles. Using lesson observations, this work will also act as a comparative assessment on stylistic and technical points of convergence and divergence between CCM styles found in music theatre and classical singing, culminating in a practical pedagogical compendium for the crossover teacher. Chapters 1- 3 examine the history of music theatre styles, assess commonalities and differences between CCM resources, and provide evidence-based research for use in the crossover lesson setting. The compendium of Chapter 4 is designed to help classical voice instructors teach the CCM styles of music theatre. Ultimately, commonalities found in Body Engagement, Imagery or Analogy, Questions to Facilitate Learning, Physical Demonstration, and Vocal Demonstration offer classical teachers confidence in their existing pedagogical knowledge when teaching contemporary music theatre. Divergent themes in Acting, Alignment, Registration, and Resonance highlight the need for further study of functional vocal pedagogy in CCM styles.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a Pedagogy. $3 2122828
650 4 $a Music. $3 516178
650 4 $a Performing arts education. $3 3173434
650 4 $a Music education. $3 3168367
653 $a Vocal performance majors
653 $a Vocal pedagogy
653 $a Contemporary commercial music
653 $a Graduate programs
655 7 $a Electronic books. $2 lcsh $3 542853
690 $a 0456
690 $a 0413
690 $a 0457
690 $a 0522
710 2 $a ProQuest Information and Learning Co. $3 783688
710 2 $a University of Toronto (Canada). $b Music. $3 3175528
773 0 $t Dissertations Abstracts International $g 84-05A.
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=29210710 $z click for full text (PQDT)