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A pedagogical approach to the trill in singing

by Kim, You-Seong

Abstract (Summary)
In a singing lesson, a voice teacher might try to demonstrate how to trill, but the trill is often regarded as a ‘mere ornament’ that is not required and can be eliminated. In the past, however, the trill was treated as one of the most important elements in singing as can be seen in many vocal treatises of the Eighteenth century. Knowing the importance of the trill in singing, voice teachers should become familiar with different methods of effective trill instruction. Eighteenth-Century vocal treatises are useful to see the stylistic execution of the vocal trill, while the Nineteenth-Century and later vocal treatises usually provide actual trill-development exercises. Those vocal exercises seem to be classified as two kinds: A series of measured notealternations that are supposed to be practiced in different tempi, usually slow to fast, and a series of acciaccatura with various intervals, such as the seconds, the thirds, the fourths, the fifths, and even the octaves. According to the research of the several vocal physiologists, the trill is one of the vocal oscillations, as the vibrato and the trillo, and can be also considered to be a variant of the vocal vibrato. In order to produce a good vibrato, the coordination of respiration and phonation is an important factor, and that has to be pursued as a basic skill for all singers. Voice teachers should not abandon the idea of “teaching vocal trill,” even though a student’s vocal facility is not so great. As in many other singing techniques, the trill and its stylistic execution must be an important attribute to be added in general instruction of classical singing. i ii
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School:University of Cincinnati

School Location:USA - Ohio

Source Type:Master's Thesis

Keywords:university of cincinnati

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