Sentence examples for vocal direction from inspiring English sources

IT AIN'T NOTHIN' BUT THE BLUES By Charles Bevel, Lita Gaithers, Randal Myler, Ron Taylor and Dan Wheetman, based on an original idea by Mr. Taylor; directed by Mr. Myler; musical direction, Jim Ehinger; vocal direction, Ms. Gaithers; general management, EKTM: Eric Krebs/Jonathan Shulman; associate producer, Mr. Taylor; production stage manager, Doug Hosney; costumes by Enid Turnbull.

Music and vocal direction by John Daniels and choreography by Michelle Gaudette, blend with dialogue to bring the audience the full impact of the haunting, piercing, unforgettable genius of Rodgers and Hammerstein.

Jennifer Palazzo, an eighth grader, had been chosen to play in the Fairchester League's all-star volleyball game -- not with her teammates from the New York School for the Deaf but with hearing girls who communicated with quick vocal directions in a fast-paced game.

So, not only did it mistake where I was, it changed the on-screen and vocal directions accordingly and so I missed my exit.

Many of Gokivo's flaws were related to the iPhone's own limitations: the GPS isn't pinpoint accurate, the iPhone doesn't have a compass, and the speaker on the iPhone is so soft that I could barely hear Gokivo's vocal directions.

In retrospect, he wishes he had been more vocal in giving direction when Tryon's future was being charted.

Directed by Scott Ellis; choreography by Rob Ashford; musical direction and vocal arrangements by David Loud.

THE FULL MONTY Book by Terrence McNally; music and lyrics by David Yazbek; directed by Jack O'Brien; choreography by Jerry Mitchell; music direction and vocal and incidental music arrangements by Ted Sperling.

Sets by David Gallo; costumes by Gregg Barnes; lighting by Ken Billington and Brian Monahan; sound by Acme Partners; music direction and vocal arrangements by Phil Reno; music coordinator, John Miller; production supervisors, Brian Lynch and Chris Kluth; production stage manager, Karen Moore.

WHAT'S THAT SMELL The Music of Jacob Sterling By David Pittu; music by Randy Redd; lyrics by Mr. Pittu; directed by Neil Pepe and Mr. Pittu; sets by Takeshi Kata; costumes by Martin Pakledinaz; lighting by Matthew Richards; sound by Jill B.C. DuBoff; projections by Dustin O'Neill; musical direction and vocal arrangements by Mr. Redd; production stage manager, Alison DeSantis.

The results suggested significant differences between groups on visual and tactile synchronic interactions, and a tendency for vocal interactions, in the direction of higher frequencies in the experimental group.