Vocal Techniques for the Instrumentalist
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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. -
AN EAR IS a TERRIBLE THING to WASTE: the Reasoning of Marketing Is Cynical, but It Works All Too Well
An Ear is a 114 Terrible Thing to Waste: 115 CLASSICAL MUSIC’S FAILURE IN THE YOUTH MARKET BY GWENDOLYN FREED MISSION: LOOKINGGLASS MISSION: LOOKINGGLASS AN EAR IS A TERRIBLE THING TO WASTE: The reasoning of marketing is cynical, but it works all too well. And CLASSICAL MUSIC’S FAILURE IN THE YOUTH MARKET those who fail to fall in line with its dictates do so at their own peril. Witness what happens when a product is marketed not for every possible demograph- ic but instead, for one-size-fits-all. All the same, going against the grain, after a hard morning’s shopping at the mall, the mom from our example would like to take her son to a chil- dren’s concert at the local symphony orchestra. Would he like to come along? No way! She drags him there anyway. He wriggles and squirms and mumbles and pops gum as the conductor takes the orchestra through an unrehearsed mishmash —a little of Prokofiev’s Peter and the Wolf and a bit of Benjamin Britten’s Young Personís Guide to the Orchestra. No money has been allocated specifically for assuring this concert’s quality; little thought has gone into its overall presentation, educational thrust, or age-appropriateness. Kids of all ages turn up, including many who are not ready to sit still. The orchestra mother and her seven-year- apparently sees no artistic or financial incentive to put more effort into this 116 old boy walk into a grocery store.A The mother sees fifteen different kinds of concert. -
Minneapolis 2 Regional
2019 MINNEAPOLIS 2 REGIONAL THE IN10SITY CHALLENGE Studio Average Top Non-Solo 1ST PLACE - Lake Area Dance Center 276.28 “Survivor” $1000 2ND PLACE - In The Spotlight 276 “Girls Night Out” $750 3RD PLACE - Elite Dance Productions 267.68 “Shout” $500 4TH PLACE - Jan’s School of Dance 266.72 “Southbound Train” $250 5TH PLACE - Dance For Fun 255.08 “Rise Up” $100 IN10SE ROUTINES Routine Score Studio Prize In10se Mini “Flickers” 287.5 DelMonico Dance $500 In10se Junior “In May Blood” 288.1 DelMonico Dance $500 In10se Teen “The Tiger’s Bride” 288.2 DelMonico Dance $500 In10se Senior “Into The Spin” 285 In The Spotlight $500 !1 of !11 CON10TION Dancer Studio Mini Con10der Daphne Braun “Flickers” DelMonico Dance Junior Con10der Caleb Abea - “In My Blood” DelMonico Dance Teen Con10der Lucia Vera - “Survivor” DelMonico Dance Senior Con10der Angelina Amarigo - “Time” DelMonico Dance DIVISIONAL OVERALLS - MINI DEBUT MINI SOLO 1ST Kaylee Caldwell - “I’m A Lady” In The Spotlight 2ND Hadley Amick - “Flaunt It” Elite Dance Productions 3RD Ellas Sullivan - “Trust In Your Heart” Delmonico Dance 4TH Kennedi Roelike - “Getting Good At Being Elite Dance Productions Bad” 5TH Weatherly Drowne - “Kill The LIghts” In The Spotlight ELITE MINI SOLO 1ST Daphnie Braun - “Flickers” DelMonico Dance DEBUT MINI DUET/TRIO 1ST “The Squad” Elite Dance Productions DEBUT MINI SMALL GROUP 1ST “Better Together” Jan’s School of Dance 2ND “I’m A Lady” Dena’s Dance Company 3RD “Fight Song” Dance For Fun !2 of !11 DEBUT MINI LARGE GROUP 1ST “Tea With Me” In The Spotlight 2ND “Thankful” -
Competition by Studio
COMPETITION BY STUDIO Cedar Rapids ,IA RoomDay Time R # S # Division Grp # Category Age Grp. MS Routine Studio Level A Fri 04:55 PM --Awards--High Point - Awards Starz - Senior - Solo & Improv A Fri 09:25 PM --Awards--High Point - Awards RS - Senior - Solo & Improv A Sat 02:19 PM --Awards-- Awards A Sat 06:25 PM --Awards-- Awards A Sat 10:03 PM --Awards--High Point - Awards All Levels - Teen - D/T A Sun 01:11 PM --Awards--High Point - Awards All Levels - Senior & Adult - D/T & Sg A Sun 06:08 PM --Awards--High Point - Awards All Levels - Teen & Senior - Lg - Line & Prod B Fri 05:49 PM Awards - No High Points Awards COMPETITION BY STUDIO Cedar Rapids ,IA RoomDay Time R # S # Division Grp # Category Age Grp. MS Routine Studio Level B Fri 09:37 PM --Awards--High Point - Awards RS - Senior - Solo & Improv B Sat 10:27 AM --Awards--High Point - Awards All Levels - SM - Mini - Sg - Lg & Line B Sat 03:16 PM --Awards--High Point - Awards All Levels - Preteen - Lg - Line & Prod B Sat 08:23 PM --Awards--High Point - Awards All Levels - Preteen - Sg B Sun 11:22 AM --Awards--High Point - Awards All Levels - Mini - Solo - D/T & Improv - Preteen - D/T B Sun 05:55 PM --Awards--High Point - Awards All Levels - Preteen - Solo & Improv COMPETITION BY STUDIO Cedar Rapids ,IA RoomDay Time R # S # Division Grp # Category Age Grp. MS Routine Studio Level A Fri 12:11 PM 4 13 Solo 1 Contemporary S 15-18 Always On My Mind Almost Famous S Dance Studio Leah Krantz A Fri 12:15 PM 5 13 Solo 1 Contemporary S 15-18 White Blank Page Almost Famous S Dance Studio Kirstyn -
Lessons for the Vocal Cross-Training Singer and Teacher Lara C
University of South Carolina Scholar Commons Theses and Dissertations Spring 2019 Bel Canto to Punk and Back: Lessons for the Vocal Cross-Training Singer and Teacher Lara C. Wilson Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Wilson, L. C.(2019). Bel Canto to Punk and Back: Lessons for the Vocal Cross-Training Singer and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5248 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Bel Canto to Punk and Back: Lessons for the Vocal Cross-Training Singer and Teacher by Lara C. Wilson Bachelor of Music Cincinnati College-Conservatory of Music, 1991 Master of Music Indiana University, 1997 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2019 Accepted by: E. Jacob Will, Major Professor J. Daniel Jenkins, Committee Member Lynn Kompass, Committee Member Janet Hopkins, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Lara C. Wilson, 2019 All Rights Reserved ii DEDICATION To my family, David, Dawn and Lennon Hunt, who have given their constant support and unconditional love. To my Mom, Frances Wilson, who has encouraged me through this challenge, among many, always believing in me. Lastly and most importantly, to my husband Andy Hunt, my greatest fan, who believes in me more sometimes than I believe in myself and whose backing has been unwavering. -
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. -
The Performer As Classical Voice Teacher
THE PERFORMER AS CLASSICAL VOICE TEACHER: EVALUATING THE ROLE OF THE PERFORMER-TEACHER AND ITS IMPACT ON THE STUDENT LEARNING EXPERIENCE MARGARET SCHINDLER S368294 QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY in fulfilment of the requirement of the degree of Doctor of Musical Arts TABLE OF CONTENTS Table of Contents ..................................................................................................................................... i ABSTRACT ....................................................................................................................................... iii ACKNOWLEDGEMENTS .................................................................................................................. iv BOOK CHAPTERS AND PRESENTATIONS ......................................................................................... v STATEMENT OF AUTHENTICITY ...................................................................................................... vi Chapter One: Setting the Scene ................................................................................................ 1 1.1 Introduction .............................................................................................................................. 1 1.2 An auto-ethnography ................................................................................................................ 3 1.3 Rationale for this thesis .......................................................................................................... 10 Chapter Two: -
The Status and the Problem of Western Vocal Music Teaching in Myanmar
Journal of Advanced Research in Social Sciences and Humanities Volume 1, Issue 1 (9-17) DOI: https://dx.doi.org/10.26500/JARSSH-01-2016-0102 The status and the problem of Western vocal music teaching in Myanmar MAI NAY CHI HNIN PWINT OO∗ Department of Music Education, College of Music, Mahidol University, Salaya, Thailand Abstract Aim: The aim of this study is to identify and recommend solutions to the problems not only in teaching but also in learning Western classical vocal music. The research will also consider the benefits of solving these problems. The primary objective of this study was to infer the status and the problems of Western vocal music teaching in Myanmar and to explore the appropriate methods for the solution of the problems in the environment of the government school system. Method: This research used qualitative methods, formal and informal interviews and observation. There were six vocal music teachers from a variety of Music Centers in Yangon, one vocal music teacher from The Myanmar Institute of Theology (Liberal Arts program), Music Department in Myanmar and one vocal instructor from an independent unit who are currently working in that area with at least 2 years’ experience in western vocal teaching as full-time and part-time teachers. Findings: The researcher found through the interviews that most of the vocal music teachers did not study in voice much and most of them did not have the opportunity to study music since they were young. Most of them taught voice to students based on only their experience and what they learnt from experienced teachers. -
Headliners 2016 Central Division Conference Special Concerts 2016
2016 Central Division Conference HHeadlinerseadliners Voces8 Ola Gjeilo is the conductor of Voces8. His photo and bio are on page 49. Voces8 is a headliner at this conference. Their photo and bio are on page 49. 2016 Central Division Conference SSpecialpecial CConcertsoncerts Chicago Children’s Choir Medal, which recognizes achievement through research in authorship, in invention, for discovery, for unusual public service or for anything deemed of great benefi t to humanity. In 2012, she received the Roman Nomitch Fel- lowship to attend the Harvard Business School’s Strategic Perspectives in Nonprofi t Management, a program that provides opportunities for senior executives to examine their missions and develop strategies for the new global economy. Lee received a bachelor’s in piano performance from DePaul University and a master’s in conducting from Northwestern University. Founded in 1956 during the height of the Civil Rights Judy Hanson holds a bachelor’s from Movement, Chicago Children’s Choir (CCC) is a non- the University of Illinois and a master’s profi t organization committed to peacefully uniting a from Northwestern University. As direc- diverse world through education, musical expression, and tor of choral programs, Hanson over- excellence. Serving more than 4,000 children annually, sees and directs the coordination and CCC empowers singers to bridge cultural divides and presentation of all Chicago Children’s become ambassadors of peace in their communities. With Choir programs and guides conduc- programs in more than seventy Chicago schools, ten after- tors in serving more than 4,000 children each year. She school neighborhood programs, an ensemble for boys with serves as the associate director and choreographer for the changing voices, and the internationally acclaimed Voice world-renowned Voice of Chicago and the conductor of of Chicago, the diversity of CCC refl ects the cultural DiMension, a choir for young men with changing voices. -
Inscape Fall 2001
inscape Fall 2001 FACULTY ADVISORS George Eklund Gary Mesa-Gaida Elizabeth Mesa-Gaida MANAGING EDITOR Mick Parsons EDITORIAL BOARD Jamie Skidmore David Jones Tara Perry Brad Hamlin Joy Howard Eric Collins Erin Quinn Carl Albright Elizabeth 0 Quinn Mike Frasier Becky Jenkins Jared Salyers Stephanie Stobaugh Michael Combs Scarlett Stewart Matt Brown Gabby Kindell Barry Lee Reynolds Inscape is the inward quality of objects and events, as they are perceived by the joined observation and intro spection of a poet, who in turn embodies them in unique poetic forms. -Gerard Manly Hopkins As a group of artists, as a group of people, as a set of human beings, we are like anyone else. With every shift the world makes, we feel and are affected by it, grappling with the changes we sometimes want and sometimes do not. There are no simple terms for the many days that have passed since September, or for the many days that will pass. Each moment-- each second-- ticks . away showing us a day when it was bad to be human. It was a bad day to wake up and open the blinds. It was a bad day to fetch water for washing. It was a bad day for someone to stop for gas before going to work. It was a bad day to gather apples and other fruits to eat. And the days that have followed-- that will follow- have been confused. They have left us all wondering for loved ones that we mayor many not know, either close or far from us. These and other days are those that we as artists, as people, as human beings have, not to make sense of September 11, but to make sense of every day. -
Vocal Pedagogy As It Relates to Choral Ensembles
Vocal Pedagogy as It Relates to Choral Ensembles Compiled by Dalan M. Guthrie March 2019 0 Introduction Vocal pedagogy is a topic that has been well-defined for centuries. There are comprehensive books, treatises, dissertations and opinions on every facet of technique as it relates to healthy production of voice in the bel-canto style. For most of its existence as a topic, it has been almost completely limited to the individual study of voice as it pertains to the soloist. Vocal pedagogy as it pertains to choral ensembles is a relatively recent topic of study that has only started to be defined in the last 50 or so years. It is the aim of this bibliography to comprehensively represent the corpus of research of vocal pedagogy as it relates to the choral ensemble. This includes helping to define the role of the choral director, voice teacher, and singer in their responsibility in the education of vocal performance in both solo and choral settings. The nature of this research is pedagogical. Because of this, it is difficult to scientifically define a “correct” methodology of teaching voice. However, the teaching of voice has been evolving for centuries and continues to evolve. As we learn more about vocal science, we can apply them to old models and find new techniques to implement them in simple ways. The techniques change and will always change, but the underlying principles are being reinforced as necessary by authority figures on the subject and by those who practice voice. The stereotype that the comparison of solo and choral singing invariably brings is that of the director and the voice teacher continually at odds with one another over the approach to the vocal education of their students at the secondary and collegiate levels. -
The Application of Bel Canto Concepts and Principles to Trumpet Pedagogy and Performance
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1980 The Application of Bel Canto Concepts and Principles to Trumpet Pedagogy and Performance. Malcolm Eugene Beauchamp Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Beauchamp, Malcolm Eugene, "The Application of Bel Canto Concepts and Principles to Trumpet Pedagogy and Performance." (1980). LSU Historical Dissertations and Theses. 3474. https://digitalcommons.lsu.edu/gradschool_disstheses/3474 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 was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy.