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dc.contributor.authorO'Bryan, Jessica
dc.contributor.authorHarrison, Scott
dc.contributor.editorScott Harrison and Jessica O'Bryan
dc.date.accessioned2018-05-24T03:59:12Z
dc.date.available2018-05-24T03:59:12Z
dc.date.issued2014
dc.identifier.isbn9789401788519
dc.identifier.doi10.1007/978-94-017-8851-9_1
dc.identifier.urihttp://hdl.handle.net/10072/67118
dc.description.abstractSinging is ubiquitous throughout nearly all world cultures, for many reasons and in a variety of settings. We sing alone and together for joy, love, enlightenment or entertainment; out of grief, or hate, or for emotional and spiritual succour in a musical manifestation of the human spirit. For some singers, training in singing is an inevitable outcome of the desire to represent these sung emotions in the most sublime and flawless manner possible. In European cultures from Christianity onward there exists a documented culture of church singing, stemming from even earlier worship singing of the Jewish faith and other cultures. These cultures undoubtedly had an oral transmission of singing training in the ancient master/apprentice tradition. From the time singing became more public, professional and highly regarded, the need for singing training arose in response to the desire for greater excellence in the performative art. Those cultures in which the history of singing training is written down bring much to bear in the processes of training the modern singer. The aim of this book is not to provide a history of singing training throughout every world culture: it would be disingenuous of us to even try. Instead this volume celebrates the art of singing teaching today across a range of musical styles and cultures, through inquiry in such areas as scientific investigation, cultural research and practitioner expertise. Although we will not be documenting the full history of singing training, the purpose of this chapter is to contextualise the chapters to follow, and therefore a declaration of the 'state of play' is necessary before launching into the volume overall. We begin with an acknowledgement of the medieval European Guilds and the European conservatoire environment before we examine the most relevant and recent documentation regarding singing training. We then conclude the chapter by introducing our contributors.
dc.description.peerreviewedYes
dc.description.publicationstatusYes
dc.languageEnglish
dc.language.isoeng
dc.publisherSpringer
dc.publisher.placeUnited Kingdom
dc.publisher.urihttp://dx.doi.org/10.1007/978-94-017-8851-9
dc.relation.ispartofbooktitleTeaching Singing in the 21st Century
dc.relation.ispartofchapter1
dc.relation.ispartofstudentpublicationN
dc.relation.ispartofpagefrom1
dc.relation.ispartofpageto9
dc.rights.retentionY
dc.subject.fieldofresearchMusic Performance
dc.subject.fieldofresearchcode190407
dc.titlePrelude: Positioning Singing Pedagogy in the Twenty-First Century
dc.typeBook chapter
dc.type.descriptionB1 - Chapters
dc.type.codeB - Book Chapters
gro.facultyArts, Education & Law Group, Queensland Conservatorium
gro.hasfulltextNo Full Text
gro.griffith.authorHarrison, Scott D.
gro.griffith.authorO'Bryan, Jessica E.


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