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  • 1. Powell, Alyssa Making the Clarinet Sing: Enhancing Clarinet Tone, Breathing, and Phrase Nuance through Voice Pedagogy

    Doctor of Musical Arts, The Ohio State University, 2020, Music

    The clarinet has been favorably compared to the human singing voice since its invention and continues to be sought after for its expressive, singing qualities. How is the clarinet like the human singing voice? What facets of singing do clarinetists strive to imitate? Can voice pedagogy inform clarinet playing to improve technique and artistry? This study begins with a brief historical investigation into the origins of modern voice technique, bel canto, and highlights the way it influenced the development of the clarinet. Bel canto set the standards for tone, expression, and pedagogy in classical western singing which was reflected in the clarinet tradition a hundred years later. Present day clarinetists still use bel canto principles, implying the potential relevance of other facets of modern voice pedagogy. Singing techniques for breathing, tone conceptualization, registration, and timbral nuance are explored along with their possible relevance to clarinet performance. The singer `in action' is presented through an analysis of the phrasing used by Maria Callas in a portion of `Donde lieta' from Puccini's La Boheme. This demonstrates the influence of text on interpretation for singers. Together, these points suggest that voice pedagogy may be used to positively influence clarinet performance and pedagogy, ensuring that clarinetists will continue the tradition of `making the clarinet sing.'

    Committee: Caroline Hartig (Advisor); Scott McCoy (Committee Member); Eugenia Costa-Giomi (Committee Member); Katherine Borst Jones (Committee Member) Subjects: Music; Music Education
  • 2. Fuchs, Michael A Conductor's Guide to the Incorporation of Bel Canto Methodology in the Choral Rehearsal

    DMA, University of Cincinnati, 2014, College-Conservatory of Music: Conducting, Choral Emphasis

    This document is a choral conductor's guide for the incorporation of bel canto vocal techniques, specifically coup de la glotte, chiaroscuro, and appoggio, into the choral setting. Research has shown that the use of these vocal techniques can improve the singing of choral ensembles in areas of intonation, resonance, flexibility, and tone quality. Choral ensembles that incorporate bel canto techniques can also benefit from faster and more effective rehearsals as well as the flexibility to sing a wide range of repertoire. This guide draws upon the writings and teachings of historical bel canto vocal pedagogues, contemporary vocal pedagogues, choral pedagogues, and vocal science research to develop a choral bel canto methodology. For each specific bel canto technique, this guide includes a discussion about the use of appropriate terminology, warm-up exercises and vocalises, and an exploration of rehearsal strategies and techniques.

    Committee: Mary Stucky M.M. (Committee Chair); Gwendolyn Detwiler D.M.A. (Committee Member); L. Scott D.M.A. (Committee Member) Subjects: Music