Abstract摘要

本論文探討的因素和過程的歌劇歌手的藝術(shù)專業(yè)發(fā)展有關(guān)。歌劇歌手的職業(yè)有一個(gè)很長的故事衍生起源于17世紀(jì)早期在意大利。在歌劇舞臺上表演的是第十八和第十九世紀(jì)的音樂成績，這一問題引起了現(xiàn)代京劇演員如何生活、學(xué)習(xí)和超越其當(dāng)代追求，以滿足對性能的高要求。最初的研究發(fā)現(xiàn)健康問題的歌劇歌手的職業(yè)活動有關(guān)。定性和定量的測量表明，心理問題是帶有明顯的擔(dān)心可能的負(fù)面評價(jià)重要他人的恐懼，聲帶不相關(guān)。一系列的健康促進(jìn)活動，以防止發(fā)生了問題，，可能導(dǎo)致聲帶不適體。心理問題難以維持一家人的生活，由于工作時(shí)間的關(guān)系。研究二歌唱課的心理和生理的影響研究與業(yè)余和專業(yè)水平的歌唱經(jīng)驗(yàn)。業(yè)余歌手經(jīng)歷更多的幸福感測量自我報(bào)告的情緒狀態(tài)和降低壓力荷爾蒙水平比專業(yè)人士。研究三敘事收集高等戲曲教育中藝術(shù)發(fā)展的因素和過程的識別。描述性模型的創(chuàng)建，接受各種技能的發(fā)展，演唱技巧、表現(xiàn)力和人際關(guān)系的手段。從教育結(jié)果變量為藝術(shù)自主性、藝術(shù)能力和改變自我。研究四，人格特征評估中的精英學(xué)生在歌劇和藝術(shù)與商業(yè)教育較傳統(tǒng)教育流。歌劇中的女學(xué)生，男學(xué)生女業(yè)務(wù)和業(yè)務(wù)共享的人格特征對感覺尋求傾向外向性指示。男性的京劇演員表現(xiàn)出情緒性水平升高的輪廓�？偟膩碚f，研究結(jié)果在研究表明，歌劇藝術(shù)的個(gè)性發(fā)展是一個(gè)復(fù)雜的健康相關(guān)的問題，個(gè)性的過程中，技能的習(xí)得和社會文化價(jià)值的關(guān)鍵成分。一個(gè)主要的結(jié)果是明顯的關(guān)注本身的樂器，聲音。在歌唱發(fā)聲功能被描述為使曲藝的一種手段，為健康的藝術(shù)表達(dá)和指示模式。承認(rèn)，在準(zhǔn)備論文的幾個(gè)人有貢獻(xiàn)的進(jìn)步。The present thesis explores factors and processes associated with the artisticprofession and development of opera singers. The profession of opera singershas a long story deriving its origin in early 1600s in Italy. What is performed onopera stages today is written in the musical scores in the 18th and 19th century.The question arises how the modern opera singers live, learn and excel in theircontemporary pursuit in order to meet the high demands on performance. Theinitial study identified health issues related to the professional activity of operasingers. Qualitative and quantitative measurements indicated that psychologicalproblems were associated with a distinct worry for possible negative evaluationfrom significant others and a fear of vocal indisposition. A range of healthpromotingactivities was demonstrated aiming at preventing the occurrence ofsomatic problems that could cause vocal indisposition. Psychosocial problemsconcerned difficulties to maintain a family life and relations due to irregularworking hours. In Study II, the psychological and physiological effects of singinglessons were investigated with respect to amateur and professional levels ofsinging experiences. Amateur singers experienced more well-being measured byself-reports of emotional states and by lower levels of stress hormones thanprofessionals. In Study III, narrative accounts were collected to identify factorsand processes in the artistic development during higher opera education. Adescriptive model was created that embraced the development of various skillssuch as singing technique, means of expressiveness and interpersonal skills.Outcome variables from the education were artistic autonomy, artisticcompetence and change in self-concept. In Study IV, personality characteristicswere assessed among elite students in opera and business education representingan artistic versus a traditional educational streaming. Female opera students,female business and male business students shared the personality characteristicof extraversion indicating a disposition towards sensation seeking. Male operasingers exhibited a profile of elevated levels of emotionality. In general, thefindings across the studies demonstrate that the individual development ofoperatic artistry is a complex process where health-related issues, personalitycharacteristics, skills acquisition and sociocultural values are critical constituents.A major result was the marked focus on the instrument per se, the voice. Vocalfunctioning in singing was described as a means of enabling operatic singing, amode for artistic expression and indicator of health.AcknowledgementsDuring the preparation of this thesis several persons have contributedto the progress. I am particularly indebted to my supervisor professorHenry Montgomery for his invaluable guidance and inspiration. Henryhas a way of transmitting a particular attitude, that is how to keep up afresh and open intellectual mind. In our discussions, what was staticand rigid in scientific work became creative and dynamic, and whatwas intricate shone soon with clarity in its complexity.I am also deeply obliged to my associate supervisor professor Brittaf Klinteberg who was the one who initially introduced me to thedoctoral work at the Department of Psychology, Stockholm. Sheshowed me also the field of research on personality from apsychobiological view. As myself a so-called psychosomatician, Iappreciate this knowledge very much. I have been privileged to havehad two supervisors, Henry Montgomery and Britt af Klinteberg.Although they work in different scientific fields, it turned out to be agood mix and to broaden my thinking.Professor Alf Gabrielsson was however my supervisor in the firstpart of the research work at the Department of Psychology inUppsala. I am very grateful for his stimulating support and open mindin methodological questions. Somehow, I experienced artistic freedomin scientific work. This experience has given me confidence inconducting scientific work.I would also like to express my appreciation to professor TöresTheorell and the nurse Tina Grape who invited me to be involved in astudy about singing lessons.All participants in the studies are greatly acknowledged for theircontribution. Most of them are public persons, and yet they acceptedto share their experience from artistic work.The thesis was supported financially by The Bank of SwedenTercentary through a grant to professor Alf Gabrielsson. I am alsovery grateful for financial support from Operahögskolan in Stockholmin an important phase of the doctoral work and also support from theDepartment of Psychology in Stockholm.

Contents目錄
1. Introduction ..................................................................................................... 1
Overview of the thesis ..................................................................................... 2
2. Historical background of opera tradition ............................................... 4
The origins of opera ......................................................................................... 4
The Swedish opera tradition and education ................................................ 14
3. Transitional factors and processes in musical development .......... 17
Perspectives on giftedness and skills ............................................................ 17
Features of musical development ................................................................. 20
Social factors ........................................................................................... 22
Motivation ............................................................................................... 23
Practice strategies ................................................................................... 24
Expressivity ............................................................................................. 26
4. Personality ....................................................................................................... 28
Major personality traits .................................................................................. 28
Personality and athletic activities .................................................................. 31
Personality and creativity ............................................................................... 33
Personality and vocational interests ............................................................. 34
5. The performing professional and health issues .................................. 37
Aspects of vocal production ......................................................................... 37
A psychological view of artists and health ................................................... 39
A medical view of the professional singing voice ....................................... 42
6. Research objectives ...................................................................................... 46
7. Methods and materials ................................................................................ 47
Study design .................................................................................................... 47
Study groups ................................................................................................... 47
Inclusion procedure ............................................................................... 50
Response rate .......................................................................................... 51
Measurements .................................................................................................. 51
Qualitative measurements ...................................................................... 51
Quantitative measurements ................................................................... 53
Procedures ....................................................................................................... 54
Data analyses ................................................................................................... 56
Ethics ............................................................................................................... 57
8. Overview of empirical studies .................................................................. 58
Study I: Voice, soma, and psyche
- A qualitative and quantitative study of opera singers ............ 58
Study II: Does singing promote well-being? An empirical study of
professional and amateur singers during a singing lesson ........ 60
Study III: Learning experiences and motivation in artistic development.. 61
Study IV: Personality characteristics among elite students in opera
and business education ................................................................. 63
9. General discussion ........................................................................................ 65
Main findings and contributions ................................................................... 65
Shortcomings and limitations ....................................................................... 71
Concluding remarks and future directions .................................................. 73
References ............................................................................................................ 77
Original studies (I-IV)

(I-IV)REFERENCES

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