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Effects on Vocal Range and Voice Quality of Singing Voice Training: The Classically Trained Female Voice

Journal of Voice, 2014
A longitudinal study was performed on the acoustical effects of singing voice training under a given study program, using the voice range profile (VRP).Pretraining and posttraining recordings were made of students who participated in a 3-year bachelor singing study program.
Peter Pabon, Sten Ternström
exaly   +3 more sources

Voice-training apparatus

The Journal of the Acoustical Society of America, 1992
In an apparatus for voice training, on several points of a student's body measuring devices are provided, which are connected to optical display devices. At each of these measuring devices, a pressure sensor amplifier is connected with an analog multiplexer, and a sound-pressure measuring device is directly connected to the respective display device.
Peter Jost, Erwin Klösch
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Training Outcome in Future Professional Voice Users after 18 Months of Voice Training

Folia Phoniatrica et Logopaedica, 2004
The goal of this study is to define the long-term influence of vocal hygiene education and the effectiveness of voice training in 46 students. Half of the subjects, called the trained group (n = 23), received vocal hygiene education during 1 school year and voice training during 2 school years (18 months).
Bernadette, Timmermans   +3 more
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Training for Voice Communication

The Journal of the Acoustical Society of America, 1946
A training program was devised for improving the intelligibility of Army Air Force personnel in talking over the interphone and radio. The contents of the course, amount of training required, and the training requirements were determined experimentally.
John W. Black, Harry M. Mason
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Training Soprano Voices

2000
Abstract All soprano voices have characteristics in common, but each type of soprano voice also has special features that require a particular approach in teaching. A young dramatic soprano must not be forced into a soubrette mold, nor should the soubrette soprano be assigned dramatic tasks.
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Training a performer’s voices

Theatre, Dance and Performance Training, 2016
Are there gaps between what prominent voice trainings promote and what the intercultural performer requires in order to ‘speak with the voices of the now’? How might these gaps be filled in a way that allows the voice to be a driving dramaturgical force in intercultural work and widen the range of how the voice makes meaning?
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