Annotated Bibliography for Vocal Pedagogy

Bozeman, Kenneth W. “The Role of the First Formant in Training the Male Singing Voice.” Journal of Singing 66/3 (January/February 2010), 291-297.

This source contains information specifically discussing the natural adjustments of the vocal registration of a male in the head voice to the chest voice, as well as the importance of the mastery of the male passaggio. The author discusses the different types timbral shifts and other acoustic factors that independently have prominent roles in the adjustments made in the male voice. The author also gives exercises and examples with his explanation to show how to master such an art of smoothly transitioning from the chest voice up through the passaggio and to the head voice in males. As a female vocal pedagogue this is very beneficial to understand how the male voice works. I can utilize the vocalises included in this article to function as a way to diagnose issues and help change as well as to allow my male student, whenever I may have one to successfully sing beautifully and efficiently.

Miller, Richard. “In the Beginning: The Genesis of the Art of Singing.” Journal of Singing 66/1 (September/October 2009), 45-50.

This source discusses the history of the anatomy of the larynx and why humans are ideally constructed for phonation. The author discuses and compares humans to animals as far as the function of their (the animal’s) phonation and their functions for it. He also discusses the location and precision of the parts of the larynx, therefore explaining their purpose for phonation and how we as humans manipulate it. As a pedagogue I can use this information to show students in a particular way how and where parts of their larynx are and how we as humans use them for phonation. Also the scientific information about animals would, for some students, possibly bring a metaphor to get them to understand and grasp a concept.

De’Ath, Leslie. “Text Rendering in Eighteenth Century Recitativo Secco.” Journal of Singing 65/5 (May/June 2009), 577-593.

This source discusses diction through recitatives in the eighteenth century opera. The author of this article goes in depth of the history of how the sounds were stressed and the differences in given sounds today. He spends time discussing the Italian stressed syllables in the opera recitatives as well as how to phonate these syllables in time with the given rhythm to interpret the song beautifully. He also discusses connecting consonants in the Italian language. I can use this article information to demonstrate to my student the stress placed on Italian vowels and why in order to get them to execute their diction of the given song properly. This can deem challenging with some double syllable consonants that happen on the same vowel, yet with the given information of the given era of music, I, as a pedagogue can better