Performance in rhythmic singing - An investigation of the performative-emotional meaning for rhythmic singing and its pedagogy. The dissertation takes its starting point in the current vocal pedagogy in rhythmic singing and its distribution of, and emphasis on the technical and performative topics. It is my assumption, that an unequal distribution of technical and performative subjects is present in rhythmic vocal pedagogy, especially regarding literature and research-based studies. In the conviction, that vocal pedagogy should encompass both technical aspects of singing, as well as performative and expressionalistic, it is the purpose of this dissertation to examine and clarify the performative aspects of rhythmic singing, and to assess how these can relate to the practice of vocal pedagogy. By this, it is my intention to expound vocal pedagogical methods and thoughts concerning performative topics within rhythmic singing. By means of theoretical sources, such as, Roman Ingarden, Constantin Stanislavskij, Thomas Hemsley, and John Bertil Lundén, as well as research work by, amongst others, Alf Gabrielsson, Patrik N. Juslin, and Jane W. Davidson, a theory of performance containing principles and conceptions to compile a practice within vocal pedagogy, is presented. The vocal pedagogical analysis seeks to account for tools and methodologies, by which a performative study can enter into rhythmic vocal pedagogy. It is concluded, that the emotional-performative dimension in a vocal performance, has essential importance for the vocal and aesthetic communication. Furthermore, it is possible to concretise such topics, so that they may enter into a vocal pedagogical context on equal terms with the technical aspects of vocal expression. Through means of documented studies as well as knowledge from related subject areas, the rhythmic vocal pedagogy can evolve into including vocal development of psychological and physical emotional ways of expressing oneself, and thereby target vocal education toward a vocal performance.