• Title/Summary/Keyword: Singing Techniques

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Study on Legato in Vocal Music Performance (성악 발성에서의 레가토(Legato)에 대한 연구)

  • Lu, Xiaozhou
    • Journal of Korea Entertainment Industry Association
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    • v.13 no.4
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    • pp.17-26
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    • 2019
  • In order to study the role of legato to singers in vocal music performance, this paper adopts the methods of demonstration and induction and comparison to analyze the three factors affecting the creation of legato in performance and propose solutions. When thinking about the influence of singing skills on legato, singers will be able to solve such issues as breathing, articulation and vocal register, thus improving their singing skills. When thinking about the influence of singing language on legato, singers will make an in-depth study on the phonetic and structural features of the language to reach legato in language, thus promoting the in-depth study of singers on the singing language. When thinking about the influence of singing emotion on legato, singers will solve the problem of emotional coherence from two aspects of thought and emotion to create legato of emotion, thus promoting the expression of singers' emotion in the work. Obviously, legato plays an important role in improving singers' singing skills, singing language and singing emotion. The aim of the paper is to encourage singers to further deepen their attention to legato in vocal music performance and make better use of legato in singing.

The Study of Vocalization for Korean Pop Music So-mo-ri Technique (가요 창법 연구 -소몰이 창법-)

  • Cho, Tae-Seon
    • Journal of the Korea Academia-Industrial cooperation Society
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    • v.13 no.6
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    • pp.2491-2496
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    • 2012
  • From the year 2000, an ironic phenomenon struck the Korean pop field with a number of male vocalists singing with similar voice tone colors and with almost the same vocal techniques. People called it "So-mo-ri", and this technique caught on with the public during that period of time. In the early 80s, plenty of vocalists tried to imitate Cho Yong-phil's singing method after his hit song 'Lady outside the window'. However, producing and releasing albums with the same singing method had never been done in history. In this study, I would like to analyse and conclude what the "So-mo-ri" technique was and how this technique began. I would further like to research the vocalization methods that were used.

THE USE OF THE TECHNIQUE IN BOTH CLASSICAL AND FOLK SONG IN OCCIDENTAL SINGING

  • Naidich, Susana
    • Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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    • v.2 no.1
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    • pp.15-19
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    • 1986
  • Our report refers to occidental vocal techniques from Greece until today. It is remarkable that even with poor anatomy knowledge, there were advices on styles given from very early periods, for both church and secular singing. During the 18th century, the names of "vox pectoris", "vox guturris" and "vox capitis" appear, nominations that somehow remain nowadays with great confusion about source of sound production and results of resonance. Vocal occidental styles developed different kinds of requirements from the singers, that had to adapt their vocal Possibilities to them. The same happened with "pop" song. Nowadays, all kinds of singers must have a conscious knowledge of its voice management to prevent vocal disturbances. We consider that the technique is the same, even when the singer has to sing Wagner, Debussy, Sconberg, Piazzola or Gershwin. The big changes occured at resonance levels, and because these different use of the vocal resonators the effects are quite different. In summary, the big differences on classical the effects are quite different. In summary, the big differences on classical and pop song are done on the different use of the resonators and its effects on the vocal tract. "Pop" singers, men and women, should be taught to use both registers, "modal" and "falsetto" to be able to reach the complete range of their songs without any harm to their larynxes. In our opinion, a good singing technique means that it could be adapted to every stylistic need. The same technique is adapted to the popular singer as well. The main difference lays on the use of resonators, pretty strong in the classic singer, weaken in the popular singer, on the volume and on the total extension of the voice. Breathing control, effortless emission and the use of "passage" at the right point should be taught to all singers, regardless of their style. (omitted)

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Convergence Characteristics of Contemporary Musical Vocal Techniques - Focusing on the Analysis of 'The Girl in 14G' - (현대 뮤지컬 보컬 테크닉의 융합적 특징 - 'The Girl in 14G' 분석을 중심으로 -)

  • Lee, Eun-Hye
    • Journal of Korea Entertainment Industry Association
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    • v.15 no.4
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    • pp.157-166
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    • 2021
  • The purpose of this study is to understand the characteristics of contemporary vocalization and songs in order to learn various vocal methods in musical vocal classes and apply them to students. Musical vocalization methods change and evolve according to the demands of the times. Today, the characteristics of contemporary musicals cannot be limited to anyone genre, and the genre of music as well as the style of work are derived from several genres and coexist. 'The Girl in 14G,' the subject of this study, is a song that appeared in the album of Kristin Chenoweth, a famous American musical actress who uses various vocal techniques. Jeanine Tesori composed this song with various vocal techniques such as Classical, Jazz, Belting, and Mixed Voice to express New York's representative music genres of Broadway Musical, Metropolitan Opera and East Village Jazz. The development of the song consists of a difficult process in which one actor has to act across three different characters in three musical styles and singing methods. Singing 'The Girl in 14G' requires a lot of effort and practice as it is necessary to acquire various vocal techniques, which makes it a good text for students and actors in the educational perspective. As a result, this study confirmed that this song is a representative piece with a solid musical and dramatic composition and is a good example that shows the convergence characteristics of contemporary musical vocal techniques.

Study and Application of Vocal Scale Models for Contemporary Musical Theatre Singing Education (현대 뮤지컬 노래 교육을 위한 보컬 발성 스케일 모델 연구와 적용)

  • Lee, Eun-Hye
    • Journal of Korea Entertainment Industry Association
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    • v.15 no.3
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    • pp.127-139
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    • 2021
  • This study selected representative musical song genres and suggested the application of vocal scales to demonstrate the various musical genres that appear in the modern musical style. Various genres of music and singing methods appeared according to the change in musical style throughout the early period (the early 1990s), the Golden Age (1940s to1960s), and the contemporary period (1970s to present) of musical theatre. To this end, this study selected Classic Broadway, Contemporary Broadway, Jazz/Blues, and Pop/Rock as representative musical genres as primary categories. In addition, five musicals and five songs that can represent the musical genres were selected as secondary categories. This study then divided the singing styles into Legit from , Pop from , Rock from , Jazz/Blues from , and Hip Hop/Rap from and suggested vocal scales. The analysis of this study demonstrated how various music was used as a material for musicals responding to the needs of the times in musical history and how important it is to develop various singing styles. While this study selected five representative genres and musicals to limit the scope of analysis, it intends to expand the scope through follow-up research. Based on this, it is anticipated that various further research will be conducted to study the diversity of musical vocal education and vocal techniques.

Application and Practice of Estill Vocal Training (EVT) Through Theatrical and Musical Analysis of Musical Songs (뮤지컬 노래의 극과 음악 분석을 통한 조 에스틸 보컬 기법(EVT)의 적용과 실제)

  • Lee, Eun-Hye;Kim, Yu-Jeong
    • Journal of Korea Entertainment Industry Association
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    • v.14 no.8
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    • pp.91-102
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    • 2020
  • The purpose of this study is to analyze musical songs from an academic perspective by applying vocal techniques that can express songs in depth in three dimensions. Singing a musical song cannot be completed with just the musical part, rather, it should be accompanied by the analysis of various aspects such as the emotional state of the scenes and the characters. To this end, this study performed a multi-dimensional analysis of fields such as theatrical structure, lyrics, musical structure, and dynamics. In addition, the study explored and applied Estill Voice Training(EVT) that actors can best express songs with the emotions of the theater and music. EVT categorizes voice into six tones: speech, sob/cry, falsetto, twang, opera, and belting. In this study, in addition to these six sounds, the positions of vocal cords and larynx were also applied to seek ways to effectively express songs using "Gar Nichts" from the musical "Elisabeth" as a case study. "Gar Nichts" is a song sung by the protagonist Elisabeth, which expresses the self and the conflict at the peak of pain. Musically, this song requires various sound and voice-changing techniques to cover the range of "G#3-Gb5." As a result, it was confirmed that in order to embody the emotions of the characters and the songs in depth, the analysis of scenes and characters as well as various singing techniques need to be applied in harmony.

Research on Vocalization for Korean Pop Song: Case Foom The YongPhil Cho's "A Lady out of Window" (대중가요 발성법 연구: 조용필의창밖의 여자중심으로)

  • Cho, Tae-Seon
    • Journal of the Korea Academia-Industrial cooperation Society
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    • v.10 no.10
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    • pp.3004-3010
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    • 2009
  • The Korean pop music people enjoy today is mostly based on the pop music from foreign countries. Therefore, not only is the history very short, but also not much research is done in the Korean pop music field. Especially in terms related with the singing method, in other words the breathing and vocalization of Korean singers, it is difficult to define where it is actually situated. To add a little, it seems as if it is swarming somewhere in the middle of Korean traditional music singing methods and classical music vocalization. As pop music made its way into Korea, Korean singers had to go through many trial and errors to sing the songs of singers that had different physical conditions. Singers getting vocal nodules because of excessive vocalization, was not a surprise at that time. Yongphil Jo, a Korean singer, wanted to overcome his limits and maximize his vocal abilities. He found the answers in Korean traditional music. One of his representative songs, "The lady out the window", is one of Jo's title songs and it is the song that made a turning point in the Korean pop music vocalization. The purpose of this research is to understand the circumstances of Korean pop music through the periodical and musical background of the past and find out why the song (The lady out the window) was such an epochal vocal method at that time. Moreover, this paper covers how the breathing and vocalization is expressed by analyzing the flow, the emotional expressions, and the techniques of "The lady out the window."

Research of private landscape architecture of the Tang Era in ancient China -based on excavated excellent articles and a book <洛陽名園記> called Nakyangmyungwonki- (중국 고대 당대(唐代) 민간 조경[사가원림(私家圓林)] 연구 - 출토된 명기(明器)와 낙양명원기를 중심으로 -)

  • Park, Kyung-Ja
    • Korean Journal of Heritage: History & Science
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    • v.38
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    • pp.285-303
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    • 2005
  • Through the excavated excellent articles of the Tang era, we have considered the building techniques and styles of a square pavilion, an octagonal pavilion, a miniature hill, a pond, etc., could read building techniques of the scenic structures on ancient literatures including records and additionally about their poetical life at that time and inquired into the arrangement, structure, building techniques, etc. of a miniature hill, a pond, a pavilion, a flowerplant, etc., on Nakyangmyungwonki. Thus, under the research on the private landscape architecture, especially the nobility gardening, around excavated excellent articles and literatures, 'A miniature hill(假山) and a pond for landscaping views formed the center of a garden, and additionally a pavilion was built and flowerplants were set. The miniature hill of laying stones and having a carven, steeping, stratifying, looking like dyed green and birds' singing among hills and eating water on the lakeshore${\ldots}$' was expressed. The pond of digging in the ground and conducting water had its water system developed. There were several kinds of pavilions such as 廳, 堂, 館, 亭, 臺, 樓, 閣, 榭, etc. As examples of landscaping plants, there were a bamboo, a lotus flower, a peony, aromatic trees a pine, a korean spindle tree, a big cone pine, an empress tree, a wild walnut, a peach, a plum, a Japanese apricot tree, an apricot tree, a chrysanthemum, arrowroot vines, etc. Thus, the garden of the Tang era, abundant, diverse and excellent, enjoyed the prime of the period of prosperity. Due to cultural exchange, it is supposed that the period of united Shilla of the same age would meet with the period of prosperity in the developmental history of Korea landscape, based on the nobility garden system '4 different dwelling-houses every season on a record "四節游宅"'.

Commercially Available High-Speed Cameras Connected with a Laryngoscope for Capturing the Laryngeal Images (상용화 된 고속카메라와 후두내시경을 이용한 성대촬영 방법의 소개)

  • Nam, Do-Hyun;Choi, Hong-Shik
    • Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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    • v.21 no.2
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    • pp.133-138
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    • 2010
  • Background and Objectives : High-speed imaging can be useful in studies of linguistic and artistic singing styles, and laryngeal examination of patients with voice disorders, particularly in irregular vocal fold vibrations. In this study, we introduce new laryngeal imaging systems which are commercially available high speed cameras connected with a laryngoscope. Materials and Method : The laryngeal images were captured from three different types of cameras. First, the adapter was made to connect with laryngoscope and Casio EX-F1 to capture the images using $2{\times}150$ Watt Halogen light source (EndoSTROB) at speeds of 1,200 tps (frame per second)($336{\times}96$). Second, Phantom Miro ex4 was used to capture the digital laryngeal images using Xenon Nova light source 175 Watt (STORZ) at speeds of 1,920 fps ($512{\times}384$). Finally, laryngeal images were captured using MotionXtra N-4 with 250 Watt halogen lamp (Olympus CLH-250) light source at speeds of 2,000tps ($384{\times}400$) by connecting with laryngoscope. All images were transformed into the Kymograph using KIPS (Kay's image processing Software) of Kay Pentex Inc. Results: Casio EX-F1 was too small to adjust the focus and screen size was diminished once the images were captured despite of high resolution images. High quality of color images could be obtained with Phantom Miro ex4 whereas good black and white images from Motion Xtra N-4 Despite of some limitations of illumination problems, limited recording time capacity, and time consuming procedures in Phantom Miro ex4 and Motion Xtra N-4, those portable devices provided high resolution images. Conclusion : All those high speed cameras could capture the laryngeal images by connecting with laryngoscope. High resolution images were able to be captured at the fixed position under the good lightness. Accordingly, these techniques could be applicable to observe the vocal fold vibration properties in the clinical practice.

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Korean Musical Actress Jung Sun-Ah's Acting Skill and Style from the Projection and Back-projection Perspectives ('투사-역투사 이론' 관점의 한국 뮤지컬 배우 정선아의 연기 스킬과 스타일 특성)

  • Kim, Jeong-Seob;Lee, Eun-Hye
    • Journal of Korea Entertainment Industry Association
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    • v.15 no.4
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    • pp.45-54
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    • 2021
  • Jeong Sun-Ah built up her performance career for twenty years with bold and energetic acting and solidified her status as a leading actress of Korean musical since her debut. To benefit from the value of her experience this study performed an in-depth interview with her, applying the Theory of "Projection" and "Back-projection", which are the psychological principles of acting, and derived "acting(entering the roles)" and "de-acting(leaving the roles)" techniques. As result, Her acting mechanism involved emptying her ego, embodying a persona by projecting the role created by intensive exploration of materials like previous performance, film of the same title, original novel, and script, and then getting the ego back by back-projecting through dynamic activities such as overseas travel and dance. She pre-studied the roles by physically visiting sites that are important to the characters. She was unique in that she pursued a difference by changing vocal trainers for each musical production and undertook more intense physical training than vocal practice to achieve powerful singing performance. In most of her works (75%), she suffered from aftereffects such as depression, narcissism, hysteria, and insomnia due to disorder caused by breaking away from the roles. However, she relied on self-help and alternatives are needed in the future such as reinforcement of expert counselling. Jeong Sun-Ah appeared on an average of 1.6 productions per year, practiced for an average of 1.7 months, and performed for an average of 3.9 months with an average of 100 days of break between productions. Her performance record from this research demonstrates her constant preparation and passion, as well as the know-how of reserving and distributing energy. So, it has a valuable implications for acting education and self-management of actors and actress.