Current Search: singers (x)
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Title
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The Relationship Among Perceptual and Objective Reflux Measures in Singers.
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Creator
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Lloyd, Adam, Hoffman Ruddy, Bari, Ryalls, John, Ratusnik, David, University of Central Florida
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Abstract / Description
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Laryngopharyngeal reflux (LPR) is currently one of the most prevalent conditions associated with voice disorders being treated in voice care centers worldwide. Many singers experience voice related disturbances but are unaware that these disturbances may be the result of LPR. The purpose of this study was to quantify the perceptual symptoms and objective measures of LPR in a population of singers in order to understand the relationship between perceived symptoms, laryngeal findings, and...
Show moreLaryngopharyngeal reflux (LPR) is currently one of the most prevalent conditions associated with voice disorders being treated in voice care centers worldwide. Many singers experience voice related disturbances but are unaware that these disturbances may be the result of LPR. The purpose of this study was to quantify the perceptual symptoms and objective measures of LPR in a population of singers in order to understand the relationship between perceived symptoms, laryngeal findings, and evidence of acid exposure to the larynx. The Reflux Symptom Index (RSI), Reflux Finding Score (RFS), and the Dx-pH monitoring system were used to quantify participant symptoms, endoscopic findings, and pH levels in the oropharynx. The population included 12 semi-professional and professional singers. Significant correlations were found between the RFS, RSI and pH mild and moderate pH levels. This indicates that singers are sensitive to even small deviations of pH and this should be taken into consideration when evaluating a singers who have suspected LPR. Due to the variety of etiologies that can produce the symptoms and physical findings mentioned in this study, it is imperative that more objective data be obtained to confirm the presence of reflux in the oropharynx. As such, endoscopic findings and symptoms alone are not a good indication of reflux exposure and more objective data, like an oropharyngeal pH measurement system, should be implemented to quantify reflux in the oropharynx. The RSI and the RFS are valid tools for qualifying perceptions and physical findings however they are not without flaws.
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Date Issued
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2011
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Identifier
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CFE0004128, ucf:49093
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0004128
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Title
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A CHORUS LINE: DOES IT ABIDE BY RULES ESTABLISHED BY ACTORS' EQUITY ASSOCIATION FOR THE AUDITION PROCESS?.
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Creator
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Hardin, Mark, Weaver, Earl, University of Central Florida
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Abstract / Description
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I have been cast as "Bobby" in A Chorus Line at Orlando Broadway Dinner Theatre in Orlando. I will use this opportunity as my thesis role. As part of my thesis defense, I will combine an analysis of the character of "Bobby" in A Chorus Line with an assessment of Actors' Equity Association's audition policies from 1970 to the present, and investigate whether the audition held in the show abides by the policies established by AEA for Broadway calls. "Bobby" has an interesting arc of development...
Show moreI have been cast as "Bobby" in A Chorus Line at Orlando Broadway Dinner Theatre in Orlando. I will use this opportunity as my thesis role. As part of my thesis defense, I will combine an analysis of the character of "Bobby" in A Chorus Line with an assessment of Actors' Equity Association's audition policies from 1970 to the present, and investigate whether the audition held in the show abides by the policies established by AEA for Broadway calls. "Bobby" has an interesting arc of development as he actually gives the director what he (the director) does not want, yet is still cast in the fictitious Broadway show. Why he would choose to stray from the director's instructions is an interesting question and demanding study. To facilitate my research on the character (aside from script and score analysis), I will interview Thommie Walsh (about for whom the role was written and the original "Bobby" on Broadway) as well as other men who have played the role to get insights into the character that will enhance my performance. Mr. Walsh will also elaborate on his real-life relationship with Michael Bennett and how that compares and contrasts with the relationship between "Bobby" and "Zach." I also will interview as many of the original cast members as possible (namely Baayork Lee) to get contributing memories and anecdotal evidence from the original production. A Chorus Line captures the one element all performers experience the audition. The audition process has changed over the years, and I will focus on the development of protocol from the early 1970's (when A Chorus Line takes place) to the present. I will explore the manner in which the process has evolved and what A Chorus Line's contribution was (if any) to that process. This show has become so much a part of the musical theatre vernacular that historical exploration of procedures would also clarify how this work was structured. Were actors subjected to that intense style of audition on a huge stage in the early 1970s? Are they still today? My research will trace the history and rules governing auditions, performers and staff as delineated by Actors' Equity Association. I will also include a comparison of Equity to the variety of non-Equity auditions. Other sources will include rulebooks from AEA and interviews with dancers (past and present), AEA staff and Patrick Quinn, President of AEA.
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Date Issued
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2006
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Identifier
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CFE0000927, ucf:46753
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0000927
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Title
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LA DIVINA: THE BIRTH OF THE SINGER/ACTOR.
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Creator
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Cooper, Shelley, Weaver, Earl, University of Central Florida
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Abstract / Description
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In the world of Musical Theatre and Opera, it is not acceptable to simply have a pretty voice; you must be able to portray the character you are singing and ground it in reality. Drama in music theatre was highlighted in the Early Romantic Movement by bel canto composers Rossini, Bellini and Donizetti who re-designed the opera scene format to better tell the story. Late Romantic composers, Puccini and Verdi, took it a step further by writing music to compliment the drama of the story....
Show moreIn the world of Musical Theatre and Opera, it is not acceptable to simply have a pretty voice; you must be able to portray the character you are singing and ground it in reality. Drama in music theatre was highlighted in the Early Romantic Movement by bel canto composers Rossini, Bellini and Donizetti who re-designed the opera scene format to better tell the story. Late Romantic composers, Puccini and Verdi, took it a step further by writing music to compliment the drama of the story. Twentieth- Century Opera singer Maria Callas is admired for her famous portrayals of title roles in Rossini, Bellini, Donizetti, Verdi and Puccini operas. Callas combined bel canto vocal technique with her dramatic, realistic acting in her opera roles and revolutionized the art form. Callas stressed the importance of understanding and interpreting text and music with precision, detail, specifics and artistry. Her techniques set the standard for future aspiring singer/actors. In the 1970ÃÂ's, Callas lost her ability to sing, so she conducted Master Classes at the Julliard School of Music. Her Master Classes were the inspiration for Tony Award-Winning Playwright Terrence McNallyÃÂ's biographical play, Master Class. The play, Master Class, shows Callas as an overbearing, intimidating diva instructing opera students. The play also contains several vulnerable flashback monologues that break down the layers of CallasÃÂ' harshness. McNallyÃÂ's script shows Callas as a guarded, domineering, and callous woman; however, when she is singing or talking to her lover, she becomes a vulnerable, exposed, and available woman. With research and examination of CallasÃÂ' life, operatic career, operatic composers, bel canto technique, and music analysis, I wrote an original script to portray the multi-dimensional Callas in a one-woman show featuring famous arias Callas is known for singing.
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Date Issued
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2010
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Identifier
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CFE0003478, ucf:48973
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0003478
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Title
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10X THE TALENT = 1/3 OF THE CREDIT: HOW FEMALE MUSICIANS ARE TREATED DIFFERENTLY IN MUSIC.
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Creator
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Jordan, Meggan, Jasinski, Jana, University of Central Florida
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Abstract / Description
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This is an exploratory, qualitative study of female musicians and their experiences with discrimination in the music industry. Using semi-structured interviews, I analyze the experiences of nine women, ages 21 to 56, who are working as professional musicians, or who have worked professionally in the past. I ask them how they are treated differently based on their gender. Three forms of subtle discrimination are inferred from their narrative histories. First, female musicians are mistaken for...
Show moreThis is an exploratory, qualitative study of female musicians and their experiences with discrimination in the music industry. Using semi-structured interviews, I analyze the experiences of nine women, ages 21 to 56, who are working as professional musicians, or who have worked professionally in the past. I ask them how they are treated differently based on their gender. Three forms of subtle discrimination are inferred from their narrative histories. First, female musicians are mistaken for non-musicians. They are encapsulated into inferior roles, like "the gimmick," "good for a girl," and "invisible accessory." Second, band mates and band managers control women's space, success, and artistic freedom. Third, their femininity, sexuality, and age are highly scrutinized. The analysis implies that female musicians are tokenized, devalued, and considered inappropriate for their jobs. Particular attention is paid to the similarities between female musicians and women in male dominated work places. I conclude by discussing the larger implications for gender, music, and social change in a sexist, unregulated industry.
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Date Issued
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2006
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Identifier
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CFE0001251, ucf:46901
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Format
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Document (PDF)
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PURL
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http://purl.flvc.org/ucf/fd/CFE0001251