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She uses over- the- counter readers for close work. She admits to mild eye burning feeling after reading for long periods of time or in the afternoons. She denies any flashes, floaters, pain, redness or double vision. Past Ocular History: Presbyopia. Los Angeles Latino Eye Study (LALES) has shown that older Latinos' risk of developing open angle glaucoma (OAG) is comparable to that for African Americans, starting at the age of 60.9 Information on the. 2 INSERT TO GLAUCOMA TODAYJULY/AUGUST 2015 MICROPULSE LASER THERAPY Sponsored by IRIDEX This patient was on the cusp of losing vision, and I was able to offer her treatment with the MicroPulse P3 that day. With POAG (but who was unavailable for examination). None of the offspring of these probands had been diag-nosed with POAG. There were no marked differences in the phenotype or family history status between glaucoma cases with. No prior eye surgeries, hx of eye trauma, amblyopia or strabismus. Ocular Medications: None Past Medical History: Hypertension Surgical History: Cesarean delivery x 1 Past Family Ocular History: Cataract surgery in her mother and father. Negative for macular degeneration, glaucoma or blindness. Social History: Never smoked Medications: Hydrochlorothiazide Allergies: None ROS: Denies any recent illness or any new CNS, heart, lungs, GI, skin or joint symptoms. Ocular Exam Visual Acuity (cc): OD: 2. OS: 2. 0/2. 0 IOP (tonoapplantation): OD: 2. Hg. OS: 2. 3 mm. Hg Pupils: Equal, round and reactive to light, no APD Extraocular Movements: Full OU, no nystagmus Confrontational Visual Fields: Full to finger counting OU External: Normal, both sides Slit Lamp: Lids and Lashes Normal OU Conjunctiva/Sclera Normal OU Cornea Clear OU; no krukenberg spindle or embryotoxon Anterior Chamber Deep and quiet OU Iris Normal, no neovascularization or atrophy Lens 1+ nuclear sclerotic cataracts OU Anterior Vitreous Clear OU Dilated Fundus Examination: OD Clear view, CDR 0. 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Sunday Closed. Timberlands Branch 3. Timothy Drive Red Deer, AB, Canada T4. P 0. L1 4. 03- 7. Vocal pedagogy - Wikipedia, the free encyclopedia. Vocal pedagogy is the study of the art and science of voice instruction. It is used in the teaching of singing and assists in defining what singing is, how singing works, and how proper singing technique is accomplished. Vocal pedagogy covers a broad range of aspects of singing, ranging from the physiological process of vocal production to the artistic aspects of interpretation of songs from different genres or historical eras. Typical areas of study include. Not all vocal teachers have the same opinions within every topic of study which causes variations in pedagogical approaches and vocal technique. The Master of Music in Pedagogy and Performance with track in Voice is intended to offer the Penn State graduate voice major an intensive curriculum. People searching for List of Top Singing and Voice Colleges found the following related articles and links useful. History. Scholars such as Alypius and Pythagoras studied and made observations on the art of singing. It is unclear, however, whether the Greeks ever developed a systematic approach to teaching singing as little writing on the subject survives today. As with other fields of study, the monasteries were the center of musical intellectual life during the medieval period and many men within the monasteries devoted their time to the study of music and the art of singing. Highly influential in the development of a vocal pedagogical system were monks Johannes de Garlandia and Jerome of Moravia who were the first to develop a concept of vocal registers. These men identified three registers: chest voice, throat voice, and head voice (pectoris, guttoris, and capitis). Their concept of head voice, however, is much more similar to the modern pedagogists understanding of the falsetto register. Other concepts discussed in the monastic system included vocal resonance, voice classification, breath support, diction, and tone quality to name a few. The ideas developed within the monastic system highly influenced the development of vocal pedagogy over the next several centuries including the Bel Canto style of singing. The courts of rich patrons, such as the Dukes of Burgundy who supported the Burgundian School and the Franco- Flemish School, became secular centers of study for singing and all other areas of musical study. The vocal pedagogical methods taught in these schools, however, were based on the concepts developed within the monastic system. Many of the teachers within these schools had their initial musical training from singing in church choirs as children. The church also remained at the forefront of musical composition at this time and remained highly influential in shaping musical tastes and practices both in and outside the church. It was the Catholic Church that first popularized the use of castrato singers in the 1. Baroque and Classicaloperas. It was also during this time, that noted voice teachers began to emerge. Giulio Caccini is an example of an important early Italian voice teacher. This style of singing had a huge impact on the development of opera and the development of vocal pedagogy during the Classical and Romantic periods. It was during this time, that teachers and composers first began to identify singers by and write roles for more specific voice types. However, it wasn't until the 1. German Fach system emerged. Within these systems, more descriptive terms were used in classifying voices such as coloratura soprano and lyric soprano. A few American voice teachers began to study the science, anatomy, and physiology of singing, especially Ralph Appelman at Indiana University, Oren Brown at the Washington University School of Medicine and later the Juilliard School, and William Vennard at the University of Southern California. This shift in approach to the study of singing led to the rejection of many of the assertions of the bel canto singing method, most particularly in the areas of vocal registration and vocal resonation. There are also those teachers who borrow ideas from both perspectives, creating a hybrid of the two. In addition, the creation of organisations such as the National Association of Teachers of Singing (now an international organization of Vocal Instructors) has enabled voice teachers to establish more of a consensus about their work, and has expanded the understanding of what singing teachers do. Some voice instructors advocate an extreme mechanistic approach that believes that singing is largely a matter of getting the right physical parts in the right places at the right time, and that correcting vocal faults is accomplished by calling direct attention to the parts which are not working well. On the other extreme, is the school of thought that believes that attention should never be directed to any part of the vocal mechanism. Most voice teachers, however, believe that the truth lies somewhere in between the two extremes and adopt a composite of those two approaches. Curriculum - Classical Voice and Opera Studies Master of Music in Vocal Performance with Concentration in Classical Voice and Advanced Certificate in Vocal Pedagogy. Shenandoah Conservatory is one of only six institutions in the country with a Doctor of Musical Arts degree in voice pedagogy. Master of Music in Vocal Pedagogy. Lecturer, Voice Literature: Stephen Varney MM. These processes occur in the following sequence: Breath is taken. Sound is initiated in the larynx. The vocal resonators receive the sound and influence it. The articulators shape the sound into recognizable units. Although these four processes are to be considered separately, in actual practice they merge into one coordinated function. With an effective singer or speaker, one should rarely be reminded of the process involved as their mind and body are so coordinated that one only perceives the resulting unified function. Many vocal problems result from a lack of coordination within this process. Breathing for singing and speaking is a more controlled process than is the ordinary breathing used for sustaining life. The controls applied to exhalation are particularly important in good vocal technique. The vocal folds are brought together primarily by the action of the interarytenoid muscles, which pull the arytenoid cartilages together. Various terms related to the resonation process include amplification, enrichment, enlargement, improvement, intensification, and prolongation, although in strictly scientific usage acoustic authorities would question most of them. The main point to be drawn from these terms by a singer or speaker is that the end result of resonation is, or should be, to make a better sound. In sequence from the lowest within the body to the highest, these areas are the chest, the tracheal tree, the larynx itself, the pharynx, the oral cavity, the nasal cavity, and the sinuses. This main resonating space, from above the vocal folds to the lips is known as the vocal tract. Many voice users experience sensations in the sinuses that may be misconstrued as resonance. However, these sensations are caused by sympathetic vibrations, and are a result, rather than a cause, of efficient vocal resonance. Sub- apical. Articulation is the process by which the joint product of the vibrator and the resonators is shaped into recognizable speech sounds through the muscular adjustments and movements of the speech organs. These adjustments and movements of the articulators result in verbal communication and thus form the essential difference between the human voice and other musical instruments. Singing without understandable words limits the voice to nonverbal communication. There are five basic active articulators: the lip (. These articulators can act independently of each other, and two or more may work together in what is called coarticulation. Unlike active articulation, passive articulation is a continuum without many clear- cut boundaries. The places linguolabial and interdental, interdental and dental, dental and alveolar, alveolar and palatal, palatal and velar, velar and uvular merge into one another, and a consonant may be pronounced somewhere between the named places. In addition, when the front of the tongue is used, it may be the upper surface or blade of the tongue that makes contact (. These articulations also merge into one another without clear boundaries. Interpretation. The reason for this is that interpretation does influence the kind of sound a singer makes which is ultimately achieved through a physical action the singer is doing. Although teachers may acquaint their students with musical styles and performance practices and suggest certain interpretive effects, most voice teachers agree that interpretation can not be taught. Students who lack a natural creative imagination and aesthetic sensibility can not learn it from someone else. Failure to interpret well is not a vocal fault, even though it may affect vocal sound significantly. Voice Teachers and serious voice students spend a great deal of time studying how the voice forms vowels and consonants, and studying the problems that certain consonants or vowels may cause while singing. The International Phonetic Alphabet is used frequently by voice teachers and their students. Since the vocal instrument is internal, the singer's ability to monitor the sound produced is complicated by the vibrations carried to the ear through the Eustachean (auditory) tube and the bony structures of the head and neck. In other words, most singers hear something different in their ears/head than what a person listening to them hears. As a result, voice teachers often focus less on how it . Vibratory sensations resulting from the closely related processes of phonation and resonation, and kinesthetic ones arising from muscle tension, movement, body position, and weight serve as a guide to the singer on correct vocal production. Another problem in describing vocal sound lies in the vocal vocabulary itself. There are many schools of thought within vocal pedagogy and different schools have adopted different terms, sometimes from other artistic disciplines. This has led to the use of a plethora of descriptive terms applied to the voice which are not always understood to mean the same thing. Some terms sometimes used to describe a quality of a voice's sound are: warm, white, dark, light, round, reedy, spread, focused, covered, swallowed, forward, ringing, hooty, bleaty, plummy, mellow, pear- shaped, and so forth. |
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