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An examination of primary, middle, a...

University of Miami.

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An examination of primary, middle, and senior high school students' responses to operatic and popular female vocal timbres.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	An examination of primary, middle, and senior high school students' responses to operatic and popular female vocal timbres./
作者:	Sargon, Merja Anneli.
面頁冊數:	136 p.
附註:	Source: Dissertation Abstracts International, Volume: 54-06, Section: A, page: 2086.
Contained By:	Dissertation Abstracts International54-06A.
標題:	Education, Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9331529

An examination of primary, middle, and senior high school students' responses to operatic and popular female vocal timbres.
Sargon, Merja Anneli.

An examination of primary, middle, and senior high school students' responses to operatic and popular female vocal timbres. - 136 p.

Source: Dissertation Abstracts International, Volume: 54-06, Section: A, page: 2086.

Thesis (Ph.D.)--University of Miami, 1993.

The primary purpose of this study was to gather students' preference responses to operatic and popular female voice timbres. Only female voices were used in the study because female operatic voices seem, according to the literature on opera education, the most difficult for children to accept. The study was designed to gather data relevant to the following questions: (a) Are there differences in students' responses for musical excerpts sung by female voices trained in the operatic or popular styles? (b) Are there differences in the preference responses of elementary, middle school, and senior high school students?Subjects--Topical Terms:

1017808
Education, Music.

An examination of primary, middle, and senior high school students' responses to operatic and popular female vocal timbres.
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245 1 3 $a An examination of primary, middle, and senior high school students' responses to operatic and popular female vocal timbres.
300 $a 136 p.
500 $a Source: Dissertation Abstracts International, Volume: 54-06, Section: A, page: 2086.
500 $a Supervisor: J. David Boyle.
502 $a Thesis (Ph.D.)--University of Miami, 1993.
520 $a The primary purpose of this study was to gather students' preference responses to operatic and popular female voice timbres. Only female voices were used in the study because female operatic voices seem, according to the literature on opera education, the most difficult for children to accept. The study was designed to gather data relevant to the following questions: (a) Are there differences in students' responses for musical excerpts sung by female voices trained in the operatic or popular styles? (b) Are there differences in the preference responses of elementary, middle school, and senior high school students?
520 $a The present study examined the responses of 100 third graders, 100 seventh graders, and 100 eleventh graders to an investigator-constructed Vocal Timbre Test. The test included 16 items, eight excerpts drawn from the popular music repertoire and eight from the operatic repertoire. Eight excerpts were sung by sopranos and eight were sung by mezzo-sopranos. Each item included two renditions of an excerpt, one sung by a vocalist trained in the popular style and one by a vocalist trained in the operatic tradition. Students were asked to indicate which rendition of each they preferred. A second part of the Vocal Timbre Test asked respondents to give their reasons for preferences and nonpreferences.
520 $a Although preference responses for individual items varied somewhat, there was an overall preference for the renditions of excerpts sung by vocalists trained in the popular style. This preference was much stronger for the excerpts sung by the mezzo-sopranos than for those sung by the sopranos. The group preference for the popular vocal timbre held for excerpts drawn from both the popular and operatic repertoires, although the strength of the group preference for the popular vocal timbre was considerably less for excerpts drawn from the operatic repertoire. Apparently, many students recognized that the operatic timbre was more appropriate for the operatic repertoire.
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