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The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-15-2018 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Bourne, Thaddaeus, "Male Zwischenfächer Voices and the Baritenor Conundrum" (2018). Doctoral Dissertations. 1779. https://opencommons.uconn.edu/dissertations/1779 Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus James Bourne, DMA University of Connecticut, 2018 This study will examine the Zwischenfach colloquially referred to as the baritenor. A large body of published research exists regarding the physiology of breathing, the acoustics of singing, and solutions for specific vocal faults. There is similarly a growing body of research into the system of voice classification and repertoire assignment. This paper shall reexamine this research in light of baritenor voices. After establishing the general parameters of healthy vocal technique through appoggio, the various tenor, baritone, and bass Fächer will be studied to establish norms of vocal criteria such as range, timbre, tessitura, and registration for each Fach. The study of these Fächer includes examinations of the historical singers for whom the repertoire was created and how those roles are cast by opera companies in modern times. The specific examination of baritenors follows the same format by examining current and -
A Countertenor's Reference Guide to Operatic Repertoire
A COUNTERTENOR’S REFERENCE GUIDE TO OPERATIC REPERTOIRE Brad Morris A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC May 2019 Committee: Christopher Scholl, Advisor Kevin Bylsma Eftychia Papanikolaou © 2019 Brad Morris All Rights Reserved iii ABSTRACT Christopher Scholl, Advisor There are few resources available for countertenors to find operatic repertoire. The purpose of the thesis is to provide an operatic repertoire guide for countertenors, and teachers with countertenors as students. Arias were selected based on the premise that the original singer was a castrato, the original singer was a countertenor, or the role is commonly performed by countertenors of today. Information about the composer, information about the opera, and the pedagogical significance of each aria is listed within each section. Study sheets are provided after each aria to list additional resources for countertenors and teachers with countertenors as students. It is the goal that any countertenor or male soprano can find usable repertoire in this guide. iv I dedicate this thesis to all of the music educators who encouraged me on my countertenor journey and who pushed me to find my own path in this field. v PREFACE One of the hardships while working on my Master of Music degree was determining the lack of resources available to countertenors. While there are opera repertoire books for sopranos, mezzo-sopranos, tenors, baritones, and basses, none is readily available for countertenors. Although there are online resources, it requires a great deal of research to verify the validity of those sources. -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
How to Read Choral Music.Pages
! How to Read Choral Music ! Compiled by Tim Korthuis Sheet music is a road map to help you create beautiful music. Please note that is only there as a guide. Follow the director for cues on dynamics (volume) and phrasing (cues and cuts). !DO NOT RELY ENTIRELY ON YOUR MUSIC!!! Only glance at it for words and notes. This ‘manual’ is a very condensed version, and is here as a reference. It does not include everything to do with reading music, only the basics to help you on your way. There may be !many markings that you wonder about. If you have questions, don’t be afraid to ask. 1. Where is YOUR part? • You need to determine whether you are Soprano or Alto (high or low ladies), or Tenor (hi men/low ladies) or Bass (low men) • Soprano is the highest note, followed by Alto, Tenor, (Baritone) & Bass Soprano NOTE: ! Alto If there is another staff ! Tenor ! ! Bass above the choir bracket, it is Bracket usually for a solo or ! ! ‘descant’ (high soprano). ! Brace !Piano ! ! ! • ! The Treble Clef usually indicates Soprano and Alto parts o If there are three notes in the Treble Clef, ask the director which section will be ‘split’ (eg. 1st and 2nd Soprano). o Music written solely for women will usually have two Treble Clefs. • ! The Bass Clef indicates Tenor, Baritone and Bass parts o If there are three parts in the Bass Clef, the usual configuration is: Top - Tenor, Middle - Baritone, Bottom – Bass, though this too may be ‘split’ (eg. 1st and 2nd Tenor) o Music written solely for men will often have two Bass Clefs, though Treble Clef is used for men as well (written 1 octave higher). -
Memento De Catalogage Aleph. DVD Vidéo Et Blue-Ray
Service de gestion du réseau Aleph Memento de catalogage dans Aleph Images animées DVD vidéo, blu-ray et cassettes vidéo Version 1.1 Mai 2016 Memento de catalogage Images animées Version 1.1 Table des matières Table des matières ...............................................................................................................3 Information pratique .............................................................................................................5 Historique ...........................................................................................................................6 Avertissements ....................................................................................................................7 Sources d’information ...........................................................................................................9 Usage des différents champs ............................................................................................... 10 TYP – Type de document a ............................................................................................. 10 FMT – Format de la notice a ........................................................................................... 10 LDR - Label de notice (TYP) a ......................................................................................... 10 0XX - Numéros d’identification ......................................................................................... 11 071 – Référence éditoriale a ....................................................................................................... -
Arnold Schering on “Who Sang the Soprano and Alto Parts in Bach's
Arnold Schering on “Who sang the soprano and alto parts in Bach’s cantatas?” Translation by Thomas Braatz © 2009 [The following is a translation of pages 43 to 48 from Arnold Schering’s book, Johann Sebastian Bachs Leipziger Kirchenmusik, published in 1936 in Leipzig and presented in facsimile after the translation. To distinguish between Schering’s original footnotes and mine, his are highlighted in red while mine are left in black.] The paragraph leading into this passage describes Georg PhilippTelemann’s (1681- 1767) sacred music activities in the Neukirche (New Church) in Leipzig. These cantata performances were accomplished by Telemann with the help of university students only and without any assistance from the Thomaner1 choir(s) which were under Johann Kuhnau’s (1660-1722 - Bach’s immediate predecessor) direction. Jealous of the success that Telemann was having with his performances, Kuhnau commented that the young people there [Neukirche] had no real idea about what the proper style of singing in a church was all about and that their goal was “directed toward a so- called cantata-like manner of singing”. By this he evidently meant the elegant, modern way that male falsettists2 sang their solos [compared to the soprano and alto voices of young boys before their mutation]. What was Bach’s way of treating this matter in his sacred music? A cantor’s constant concern, as we have seen, is the ability to obtain and train good sopranos and basses. Kuhnau’s experience, that among his young scholars strong bass singers were a rarity,3 was an experience that his cantor predecessors in Leipzig had already had. -
The Impact of the Roman Army (200 BC – AD 476)
Impact of Empire 6 IMEM-6-deBlois_CS2.indd i 5-4-2007 8:35:52 Impact of Empire Editorial Board of the series Impact of Empire (= Management Team of the Network Impact of Empire) Lukas de Blois, Angelos Chaniotis Ségolène Demougin, Olivier Hekster, Gerda de Kleijn Luuk de Ligt, Elio Lo Cascio, Michael Peachin John Rich, and Christian Witschel Executive Secretariat of the Series and the Network Lukas de Blois, Olivier Hekster Gerda de Kleijn and John Rich Radboud University of Nijmegen, Erasmusplein 1, P.O. Box 9103, 6500 HD Nijmegen, The Netherlands E-mail addresses: [email protected] and [email protected] Academic Board of the International Network Impact of Empire geza alföldy – stéphane benoist – anthony birley christer bruun – john drinkwater – werner eck – peter funke andrea giardina – johannes hahn – fik meijer – onno van nijf marie-thérèse raepsaet-charlier – john richardson bert van der spek – richard talbert – willem zwalve VOLUME 6 IMEM-6-deBlois_CS2.indd ii 5-4-2007 8:35:52 The Impact of the Roman Army (200 BC – AD 476) Economic, Social, Political, Religious and Cultural Aspects Proceedings of the Sixth Workshop of the International Network Impact of Empire (Roman Empire, 200 B.C. – A.D. 476) Capri, March 29 – April 2, 2005 Edited by Lukas de Blois & Elio Lo Cascio With the Aid of Olivier Hekster & Gerda de Kleijn LEIDEN • BOSTON 2007 This is an open access title distributed under the terms of the CC-BY-NC 4.0 License, which permits any non-commercial use, distribution, and reproduction in any medium, provided the original author(s) and source are credited. -
An Introduction to Jacques Leguerney's Settings of the Poetry of Pierre De Ronsard
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2001 An Introduction to Jacques Leguerney's Settings of the Poetry of Pierre De Ronsard. Carol Fuqua Lines Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Lines, Carol Fuqua, "An Introduction to Jacques Leguerney's Settings of the Poetry of Pierre De Ronsard." (2001). LSU Historical Dissertations and Theses. 418. https://digitalcommons.lsu.edu/gradschool_disstheses/418 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
Comparison of Palestrina's and Gombert's Quam Pulchra Es
Comparison of Palestrina’s and Gombert’s Quam Pulchra Es Matt Wright, Music 301A, December 12, 2003 The Song of Songs, Canticum Canticorum, is some of the most beautiful love poetry ever written. It consists in large part of descriptions of the beauty of the beloved, likening her and her body parts to many beautiful things from the natural world. Nicolas Gombert and Giovanni Pierluigi da Palestrina each set portions of this text to music in the 16th century. They must have felt a special challenge, with such beautiful poetry on the subject of beauty, to compose music that was itself beautiful. I will compare two motets with the title “Quam Pulchra es” (“How beautiful you are”): Gombert’s for five voices and Palestrina’s for four. Both pieces start with the same four lines of text, after which the texts diverge. (The texts of the two motets follow this essay as an appendix.) The two compositions have a remarkable amount in common. Both are heavily imitative1, and predominantly heterophonic in texture. Both use duple meter throughout. Both are in the F mode with Bb in the key signature for all voices. Both have a substantial number of B natural accidentals written in by the composer2, plus more suggested by various editors. Both end not just on the same F major triad, but with the same “plagal” cadence from a Bb major triad with the same voice leading: the top voice going from Bb to C, the next voice holding a long sustained F, the next voice going from D to C, and the bass skipping from Bb to F. -
'The Performing Pitch of William Byrd's Latin Liturgical Polyphony: a Guide
The Performing Pitch of William Byrd’s Latin Liturgical Polyphony: A Guide for Historically Minded Interpreters Andrew Johnstone REA: A Journal of Religion, Education and the Arts, Issue 10, 'Sacred Music', 2016 The choosing of a suitable performing pitch is a task that faces all interpreters of sixteenth- century vocal polyphony. As any choral director with the relevant experience will know, decisions about pitch are inseparable from decisions about programming, since some degree of transposition—be it effected on the printed page or by the mental agility of the singers—is almost invariably required to bring the conventions of Renaissance vocal scoring into alignment with the parameters of the more modern SATB ensemble. To be sure, the problem will always admit the purely pragmatic solution of adopting the pitch that best suits the available voices. Such a solution cannot of itself be to the detriment of a compelling, musicianly interpretation, and precedent for it may be cited in historic accounts of choosing a pitch according to the capabilities of the available bass voices (Ganassi 1542, chapter 11) and transposing polyphony so as to align the tenor part with the octave in which chorale melodies were customarily sung (Burmeister 1606, chapter 8). At the same time, transpositions oriented to the comfort zone of present-day choirs will almost certainly result in sonorities differing appreciably from those the composer had in mind. It is therefore to those interested in this aspect of the composer’s intentions, as well as to those curious about the why and the wherefore of Renaissance notation, that the following observations are offered. -
Organico (Vocale E Strumentale) Codice Agogó Ago Alphorn Alpcor
Organico (vocale e strumentale) Codice Agogó ago Alphorn alpcor Angelica/che chite Archi archi Archicembalo/i arcemb Arco/i musicale/i armus Armonica/che arm Arpa/e arp Arpa/e eolia/e eol Arpanetta/e arpan Arpeggione/i arpeg Assente/i abs Aulos aul Baguettes claves Balalajka/e bal Banda/e banda Banjo banj Baritono - basso Br-b Baritono/i Br Baryton bry Bassanello/i blo Bassetto/i bto Basso strumentale/bassi b Basso/i B Basso/i continuo/i bc Basso/i grave/i bg Basso/i tuba tba-b Basso/i-Organo/i b-org Batteria/e batt Biucolo/i bcl Bombarda/e bomb Bombarda/e tenore bomb-t Bombardino/i bombno Bombardone/i bombne Bongos bon Boobams boob Bucina/e buc Bumbasz bum Cabaza/e cbz Caccavella/e ccvl Calcolatore/i comp Campana/e camp Campanaccio/i cmpc Campane a lastra campl Campanella/e campla Campanelle a vento campven Cannone/i cann Cantus/i C Castagnette cast Catene cat Celesta/e cel Cembalo/i cemb Cembalo/i a 3 mani cemb-ts Cembalo/i a 4 mani cemb-qt Cembalo/i a 6 mani cemb-sx Cembalo/i ad arco cembar Chalumeau/x chal Chitarra/e chit Chitarra/e basso/e elettrica/che chit-b-el Chitarra/e elettrica/che chit-el Chitarra/e hawaiana/e chith Chitarrone/i chitne Chocalho choc Chordette/s chord Ciaramella/e ciar Cimbasso/i cbs Cister cis Citola/e cit Clarinetto/i cl Clarinetto/i basso/i cl-b Clarinetto/i contrabbasso/i cl-cb Clarinetto/i piccolo/i cl-picc Clarino/i (ted.) clno Clarone/i clne Claviciterio/i clcit Clavicordo/i clvd Claviorgano/i clorg Cobza cob Colascione/i col Conga/s con Contrabbasso/i cb Contralto/i A Contralto/i voce bianca A-bi Contratenor