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A Pedagogical Analysis of Ten Francesco Paolo Tosti Songs

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A Pedagogical Analysis of Ten Francesco Paolo Tosti Songs University of Kentucky UKnowledge Theses and Dissertations--Music Music 2016 A Performance Guide for Lyric Tenor: A Pedagogical Analysis of Ten Francesco Paolo Tosti Songs Mark Aaron Kano University of Kentucky, [email protected] Digital Object Identifier: http://dx.doi.org/10.13023/ETD.2016.192 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Kano, Mark Aaron, "A Performance Guide for Lyric Tenor: A Pedagogical Analysis of Ten Francesco Paolo Tosti Songs" (2016). Theses and Dissertations--Music. 59. https://uknowledge.uky.edu/music_etds/59 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Mark Aaron Kano, Student Dr. J. Dennis Bender, Major Professor Dr. David W. Sogin, Director of Graduate Studies A PERFORMANCE GUIDE FOR LYRIC TENOR: A PEDAGOGICAL ANALYSIS OF TEN FRANCESCO PAOLO TOSTI SONGS _____________________________________ DMA DOCUMENT _____________________________________ A document submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky By Mark A. Kano Lexington, KY Director: Dr. J. Dennis Bender, Associate Professor of Voice Lexington, KY 2016 Copyright © Mark A. Kano 2016 ABSTRACT OF DISSERTATION A PERFORMANCE GUIDE FOR LYRIC TENOR: A PEDAGOGICAL ANALYSIS OF TEN FRANCESCO PAOLO TOSTI SONGS This study provides background information, International Phonetic Alphabet (IPA) transcriptions and pronunciations, poetic translations, and pedagogical analyses of ten Francesco Paolo Tosti songs. Included is the connection between the rhythm and meter of the poetry and its’ influence on Tosti’s setting of the text to music. In addition, a portion is devoted to an overview of pedagogy, specifically, appoggio, registers and passaggi in the lyric tenor voice, range and, as well as chiaroscuro. This document addresses potential vocal challenges presented for the lyric tenor voice within each song, as well as the benefits. In particular, suggestions for vowel modifications in the passaggi of the lyric tenor voice in relationship with the provided IPA transcription are addressed. Finally, by gathering all of the necessary information on Aprile, Non t’amo più, Luna d’estate, Preghiera, La serenata, Ideale, A vucchella, In van preghi, L’alba sepàra dalla luce l’ombra, and L’ultima canzone, this performance guide creates a concise tool for teachers and singers in the vocal studio seeking ideal performance practice suggestions. Keywords: Francesco Paolo Tosti, Tosti Songs, Lyric Tenor Voice, Performance Guide, Pedagogical Analysis A PERFORMANCE GUIDE FOR LYRIC TENOR: A PEDAGOGICAL ANALYSIS OF TEN FRANCESCO PAOLO TOSTI SONGS By Mark A. Kano __________J.Dennis Bender__________ Director of Document _________David W. Sogin____________ Director of Graduate Studies ______________4/22/16______________ Date To My parents, Zak and Kathy Kano ACKNOWLEDGEMENTS First and foremost, I would like to thank my first voice teacher, Donna Shearron. Thank you for believing in my potential, nurturing my talent, developing my confidence, and encouraging me as a young singer. Next, I would like to thank my undergraduate voice teacher, Dr. Christine Isley- Farmer, for always challenging me to be the best possible musician and for always inspiring me artistically, as well as technically. It is with great appreciation that I thank the members of my doctoral committee: Dr. Lance Brunner, Arturo A. Sandoval, and Dr. Liang Luo. Thank you for being thoughtful and enthusiastic committee members. It is with sincere gratitude that I thank Dr. Dennis Bender for demanding integrity and excellence, as well as being a faithful mentor. Finally, thank you to my family and friends for your constant encouragement and support. Thank you to Drs. Catherine Nardolillo and Sarah Klopfenstein-Wear; for your friendship, advice, and reassurance. And last, but certainly not least, a heartfelt thank you to my committee member, mentor, and friend, Dr. Elizabeth Arnold. Thank you for being a fantastic advocate, wonderful role model, sincere mentor, outstanding voice teacher, and dear friend. I cannot thank you enough for the compassion that you’ve offered to me over the past six years. iii TABLE OF CONTENTS ACKNOWLEGEMENTS………………………………………………………………..iii PART I: DISSERTATION LIST OF FIGURES……………………………………………………………….vi LIST OF MUSICAL EXAMPLES……………………………………………….vii CHAPTER 1: INTRODUCTION………………………………………………………..1 DEFINITION OF THIS TOPIC………………………………………………….1 NEED FOR THIS STUDY……………………………………………………….3 SCOPE AND LIMITATIONS……………………………………………………4 METHODOLOGY……………………………………………………………….5 EXPECTED OUTCOMES……………………………………………………….6 CHAPTER 2: HISTORY AND BACKGROUND……………………………………….7 FRANCESCO PAOLO TOSTI………………………………………………….7 COMPOSITIONAL STYLE AND INFLUENCES………………………………8 SONG TEXT AND POETRY…………………………………………………..11 CHAPTER 3: OVERVIEW OF PEDAGOGY AND DEFINITION OF TERMS…….12 APPOGGIO…………………………………………………………………….12 RANGE, TESSITURA, REGISTERS, AND PASSAGGI IN THE LYRIC TENOR VOICE…………………………………………………………………………..14 VOWEL MODIFICATION…………………………………………………….16 RESONANCE AND CHIAROSCURO……………………………………….18 UNDERSTANDING THE IPA TRANSCRIPTION……………………………20 CHAPTER 4: TEN SONG ANALYSES……………………………………………….25 APRILE………………………………………………………………………….25 NON T’AMO PIÙ………………………………………………………………31 LUNA D’ESTATE………………………………………………………………39 PREGHIERA…………………………………………………………………….45 LA SERENATA…………………………………………………………………50 IDEALE………………………………………………………………………….57 A VUCHELLA…………………………………………………………………..65 IN VAN PREGHI………………………………………………………………..71 L’ALBA SEPÀRA DALLA LUCE L’OMBRA………………………………….78 L’ULTIMA CANZONE…………………………………………………………84 iv CHAPTER 5: CONCLUSION…………………………………………………………90 PART II: PROGRAM NOTES AN EVENING OF SACRED MUSIC………………………………………….93 LIEDER RECITAL……………………………………………………………..109 BILBLIOGRAPHY…………………………………………………………………….125 VITA……………………………………………………………………………………128 v LIST OF FIGURES FIGURE 3.1 INTERNATIONAL PHONETIC ALPHABET (IPA) SYMBOLS FOR ITALIAN………………………………………………………………………………...22 FIGURE 4.1 “APRILE” IPA TRANSCRIPTION AND TRANSLATION…………….28 FIGURE 5.1 “NON T’AMO PIÙ “ IPA TRANSCRIPTION AND TRANSLATION..35 FIGURE 6.1 “LUNA D’ESTATE” IPA TRANSCRIPTION AND TRANSLATION…42 FIGURE 7.1 “PREGHIERA” IPA TRANSCRIPTION AND TRANSLATION……….47 FIGURE 8.1 “LA SERENATA” IPA TRANSCRIPTION AND TRANSLATION……54 FIGURE 9.1 “IDEALE” IPA TRANSCRIPTION AND TRANSLATION…………….62 FIGURE 10.1 “A VUCCHELLA” IPA TRANSCRIPTION AND TRANSLATION….68 FIGURE 11.1 “IN VAN PREGHI” IPA TRANSCRIPTION AND TRANSLATION...75 FIGURE 12.1 “L’ALBA SEPÀRA DALLA LUCE L’OMBRA” IPA TRANSCRIPTION AND TRANSLATION…………………………………………………………………82 FIGURE 13.1 “L’ULTIMA CANZONE” IPA TRANSCRIPTION AND TRANSLATION………………………………………………………………………..87 vi LIST OF MUSICAL EXAMPLES EXAMPLE 4.1 "APRILE"…..………………………………………………………….27 EXAMPLE 5.1 "NON T’AMO PIÙ".…………………………………………………34 EXAMPLE 6.1 “LUNA D’ESTATE"…………………………………………………..41 EXAMPLE 7.1 “PREGHIERA”….…………………………………………………….47 EXAMPLE 8.1 “LA SERENATA”….………………………………………………….53 EXAMPLE 8.2 “LA SERENATA”………………………………………....…………..53 EXAMPLE 9.1 “IDEALE” ……………………………………………………………..60 EXAMPLE 9.2 “IDEALE” ……………………………………………………………..61 EXAMPLE 10.1 “A VUCCHELLA”……………………………………………………67 EXAMPLE 11.1 “IN VAN PREGHI”……………………………….…………………74 EXAMPLE 11.2 “IN VAN PREGHI”…………………………………….……………74 EXAMPLE 11.3 “IN VAN PREGHI”………………………………………….………74 EXAMPLE 11.4 “IN VAN PREGHI”………………………………………….………75 EXAMPLE 12.1 “L’ALBA SEPÀRA DALLA LUCE L’OMBRA”……………………81 EXAMPLE 13.1 “L’ULTIMA CANZONE”………………………...…………………87 EXAMPLE 13.2 “L’ULTIMA CANZONE”………………………………...…………87 vii PART I: DISSERTATION CHAPTER 1: INTRODUCTION Selecting repertoire for the undergraduate lyric tenor is a scrupulous process for instructors of this voice type. The undergraduate lyric tenor is still maturing at a rapid rate and his voice will
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