DOCSLIB.ORG

Ingressive Phonation in Contemporary Vocal Music, Works by Helmut Lachenmann, Georges Aperghis, Michael Baldwin, and Nicholas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ingressive Phonation in Contemporary Vocal Music, Works by Helmut Lachenmann, Georges Aperghis, Michael Baldwin, and Nicholas © 2012 Amanda DeBoer Bartlett All Rights Reserved iii ABSTRACT Jane Schoonmaker Rodgers, Advisor The use of ingressive phonation (inward singing) in contemporary vocal music is becoming more frequent, yet there is limited research on the physiological demands, risks, and pedagogical requirements of the various ingressive phonation techniques. This paper will discuss ingressive phonation as it is used in contemporary vocal music. The research investigates the ways in which ingressive phonation differs acoustically, physiologically, and aesthetically from typical (egressive) phonation, and explores why and how composers and performers use the various ingressive vocal techniques. Using non-invasive methods, such as electroglottograph waveforms, aerodynamic (pressure, flow, flow resistance) measures, and acoustic analyses of recorded singing, specific data about ingressive phonation were obtained, and various categories of vocal techniques were distinguished. Results are presented for basic vocal exercises and tasks, as well as for specific excerpts from the repertoire, including temA by Helmut Lachenmann and Ursularia by Nicholas DeMaison. The findings of this study were applied to a discussion surrounding pedagogical and aesthetic applications of ingressive phonation in contemporary art music intended for concert performance. Topics of this discussion include physical differences in the production and performance of ingressive phonation, descriptive information regarding the various techniques, as well as notational and practical recommendations for composers. iv This document is dedicated to: my husband, Tom Bartlett my parents, John and Gail DeBoer and my siblings, Mike, Matt, and Leslie DeBoer Thank you for helping me laugh through the process – at times ingressively – and for supporting me endlessly. v ACKNOWLEDGEMENTS I have endless gratitude for my advisor and committee chair, Dr. Jane Schoonmaker Rodgers. You have an unparalleled understanding of vocal pedagogy and a true passion for singing. Thank you for guiding toward a deeper understanding of the voice, and for always keeping the health and preservation of the vocal instrument at the forefront of our discussion. This project would not be possible without the assistance and tutelage of Dr. Ron Scherer, who directed the research study and exhibited a truly masterful knowledge of laryngeal function. Thank you for your patience, supervision, and dedication to research methods. You have imparted in me a greater understanding of the voice and a love of research. To Brittany Frazer, for all of the extra time and advice you offered throughout this process, you were an incredible help during this process, and will be an amazing asset to the research world. My committee was so wonderfully thoughtful and patient during this entire process. Thank you for your time and effort in helping me achieve my goals! vi TABLE OF CONTENTS Page INTRODUCTION ........ .................................................................................................................... 1 CHAPTER 1. AN EXPERIMENTAL STUDY OF INGRESSIVE PHONATION ......................... 3 1.1 A SURVEY OF RESARCH ON INGRESSIVE PHONATION .................................... 3 1.2 METHOD………………………………….. .................................................................. 14 1.3 RESULTS……………………………………. .............................................................. 23 1.4 DISCUSSION……………………………………. ........................................................ 48 CHAPTER 2. THE USE OF INGRESSIVE PHONATION IN CONTEMPORARY VOCAL MUSIC ................................................................................. 53 2.1 THE HISTORICAL USE OF INGRESSIVE PHONATION ......................................... 53 2.2 PEDAGOGICAL CONSIDERATIONS OF INGRESSIVE PHONATION .................. 72 2.3 COMPOSING WITH INGRESSIVE PHONATION ..................................................... 81 2.4 IMPLICATIONS AND CONSIDERATIONS FOR PERFORMERS AND COMPOSERS ......................................................................... 90 CHAPTER 3. GENERAL CONCLUSIONS ..................................................................................... 96 REFERENCES ............ .................................................................................................................... 100 APPENDIX I. HSRB APPROVAL LETTER ................................................................................... 105 vii LIST OF FIGURES/TABLES Figure/Table Page 1 Figure 1.2a: from temA by Helmut Lachenmann ...................................................... 17 2 Figure 1.2b: “Scene 18” from Ursularia by Nicholas DeMaison ......................................... 18 3 Figure 1.2c: Vocal Tasks ...................................................................................................... 21 4 Example 1.3.a1. Spectrogram of egressive phonation major triad arpeggios on [a] vowel beginning on D4 and G4 ................................................................................................... 24 5 Example 1.3.a2. EGG for egressive phonation major triad arpeggios on [a] vowel beginning on D4 and G5. EGG is taken from A4. The top trace is the EGG signal and the bottom trace is the derivative of the EGG signal. ......................................................... 25 6 Example 1.3.a3. EGG for egressive phonation major triad arpeggios on [a] vowel beginning on D4 and G4: EGG of D5 ............................................................................ 25 7 Example 1.3.b1: Spectrogram of ingressive phonation major triad arpeggios on [a] vowel beginning on D4 and G4 ................................................................................................... 26 8 Example 1.3.b2: EGG for ingressive phonation major triad arpeggios on [a] vowel beginning on D4 and G5. EGG is taken from A4. ........................................................ 26 9 Example 1.3.b3: EGG for ingressive phonation major triad arpeggios on [a] vowel beginning on D4 and G5. EGG is taken from D5. ......................................................... 27 10 Example 1.3.c1: Spectrogram of egressive phonation [a] vowel through entire range.27 viii 11 Example 1.3.c2: EGG of egressive phonation [a] vowel through entire range obtained at the indication of the arrow in example 1.3.c1. ............................................................... 28 12 Example 1.3.d1: Spectrogram of ingressive phonation [a] vowel through entire range. 28 13 Example 1.3.d2: EGG of ingressive phonation [a] vowel through entire range obtained at the indication of the arrow in example 1.3.d1. .............................................................. 29 14 Example 1.3.e1: Spectrogram of egressive vocal fry formant glissando. .................. 31 15 Example 1.3.e2: EGG of egressive vocal fry formant glissando [o] vowel .............. 31 16 Example 1.3.e3: EGG Egressive phonation vocal fry glissando [a] vowel ................ 32 17 Example 1.3.e4: EGG Egressive phonation vocal fry glissando [æ] vowel ............... 32 18 Example 1.3.f1: Spectrogram of ingressive vocal fry formant glissando ................... 33 19 Example 1.3.f2: EGG of ingressive vocal fry formant glissando [ae] vowel ............ 33 20 Example 1.3.f3: EGG of ingressive vocal fry formant glissando [a] vowel .............. 34 21 Example 1.3.f4: EGG of ingressive vocal fry formant glissando [o] vowel .............. 34 22 Example 1.3.g1: Spectrogram of excerpt from temA by Helmut Lachenmann. ....... 35 23 Example 1.3.g2: EGG of excerpt from temA by Helmut Lachenmann: Ingressive D5 35 24 Example 1.3.g3: EGG of excerpt from temA by Helmut Lachenmann: Egressive D 36 25 Example 1.3.g4: Score excerpt of temA by Helmut Lachenmann ............................... 36 ix 26 Example 1.3.h1: Spectrogram of egressive messe di voce singing A4 on [a] vowel and using [pæ] syllable ............................................................................................................. 37 26 Example 1.3.h2: EGG of egressive messe di voce singing A4 on [a] vowel ................ 37 27 Example 1.3.i1: Spectrogram of ingressive messe di voce singing A4 on [a] vowel and using [pæ] syllable ............................................................................................................. 38 28 Example 1.3.i2: EGG of ingressive messe di voce singing A4 on [a] vowel ............ 38 29 Example 1.3.j1: Egressive vocal fry using [a] vowel .................................................... 40 30 Example 1.3.j2: Ingressive vocal fry using [a] vowel .................................................. 40 31 Table 1.3.a: Comparative chart: averages of [pæ] vocal tasks between egressive and ingressive phonation .......................................................................................................... 45 32 Example 1.3.l1: Subglottal pressure comparison: Egressive vs. Ingressive phonation 46 33 Example 1.3.l2: Mean Flow Comparison: Egressive vs. Ingressive phonation ......... 46 34 Table 1.3.b: Averages of [pæ] vocal tasks between octaves ....................................... 47 35 Example 1.3.m1: Flow resistance comparison for egressive and ingressive phonation 47 36 Example: “Scene 18” from Ursularia by Nicholas DeMaison .................................... 63 37 Example: Without Words (2012) by Aaron Einbond ................................................... 66 38 Example: Performance notes for Without Words by Aaron Einbond (2012) ............. 67 39 Example: Various Terrains (≡ Degrees of Similarity)
Load more

Recommended publications
  • James Douglas Jr
    M EDICAL M ILESTONES $5 Quebec HeritageVOL 3, NO. 10 JULY-AUGUST 2006 News James Douglas Jr. Anatomy of an eclectic mind Immortal Melody A tribute to Dr. James Robert Adams Beating the Barriers Canadian cardiology pioneer Maude Abbott Quebec CONTENT HeritageNews EDITOR CHARLES BURY PRODUCTION & DESIGN DAN PINESE Pesident’s Message 3 Leaving Bedlam Rod MacLeod PUBLISHER Letters 4 THE QUEBEC ANGLOPHONE HERITAGE NETWORK TimeLines 5 400-257 QUEEN STREET Here’s to history’s schoolmarms Dan Pinese SHERBROOKE (LENNOXVILLE) Memory lapses Dan Pinese QUEBEC Celtic cross on Grosse-Ile Marianna O’Gallagher J1M 1K7 Ste. Agathe, Sarnac Lake rekindle tradition Joseph Graham PHONE 1-877-964-0409 Anatomy of an Eclectic Mind 10 (819) 564-9595 The life and times of James Douglas Jr. Patrick Donovan FAX Dr. E.D. Worthington 14 564-6872 An early Quebec anaesthetist Charles Bury CORRESPONDENCE Immortal Melody 16 [email protected] James Robert Adams, music and medicine Joseph Graham WEBSITE Beating the Barriers 19 WWW.QAHN.ORG The legacy of Maude Abbott Dan Pinese The Unsung Genius 20 Reginald Fessenden Terry Skeats PRESIDENT St. Columban 24 RODERICK MACLEOD An Irish settlement remembered at last Sandra Stock EXECUTIVE DIRECTOR Return to Hear 26 DWANE WILKIN Reading oral history Dan Pinese HERITAGE PORTAL COORDINATOR MATHEW FARFAN Book Reviews 27 OFFICE MANAGER The Scots of Montreal KATHY TEASDALE America Steppin out Quebec Heritage Magazine is Photo Essay 29 produced on a bi-monthly basis by the Old-fashioned day Jacqueline Hyman Quebec Anglophone Heritage Network (QAHN) with the support of The Department of Canadian Heritage and HindSight 30 Quebec’s Ministere de la Culture et A Progress of Germs Dwane Wilkin des Communications.
    [Show full text]
  • The Chöömij of Mongolia a Spectral Analysis of Overtone Singing Ronald Walcott SELECTED REPORTS in Ethnomusicology Volume II, No
    Soundtransformation, Michael Ormiston & Candida Valentino Web Pages The Chöömij of Mongolia A Spectral Analysis of Overtone Singing Ronald Walcott SELECTED REPORTS IN Ethnomusicology Volume II, No. 1 1974 CHÖÖMIJ* is the Mongolian name for a solo style of overtone singing where two distinct pitch lines are sounded throughout. One, a nasal-sounding drone of relatively constant pitch, corresponds to the fundamental; the other, consisting of piercing, whistle like tones, forms a melody, line above the drone and results from the reinforcement of individual overtones within the ambitus of the 5th through 13th partials. Reinforcement of partials is achieved by characteristic changes in the shape and volume of the mouth cavity. This is reminiscent of the principle of the Jew's harp,' where a vibrating tongue sounded at the lips produces a drone fundamental which the player modifies by shaping his mouth cavity so as to form a resonance chamber of critical volume. The volume of this chamber, functioning on the principle of a Helmholtz resonator, reinforces a narrow frequency band area within an existing spectrum. This band is sufficiently narrow to enable the singer to select a given single partial above the drone in accordance with the degree of modification made by him. The principle involving the reinforcement of discrete partials by a specific shaping of the mouth cavity is thus common to both chöömij and the Jew's harp. A difference, however, lies in the physical origination of the fundamental. In the Jew's harp it is produced at the lips, in the chöömij it originates in the throat region.
    [Show full text]
  • Phonation Types of Korean Fricatives and Affricates
    ISSN 2005-8063 2017. 12. 31. 말소리와 음성과학 Vol.9 No.4 pp. 51-57 http://dx.doi.org/10.13064/KSSS.2017.9.4.051 Phonation types of Korean fricatives and affricates Goun Lee* Abstract The current study compared the acoustic features of the two phonation types for Korean fricatives (plain: /s/, fortis : /s’/) and the three types for affricates (aspirated : /tsʰ/, lenis : /ts/, and fortis : /ts’/) in order to determine the phonetic status of the plain fricative /s/. Considering the different manners of articulation between fricatives and affricates, we examined four acoustic parameters (rise time, intensity, fundamental frequency, and Cepstral Peak Prominence (CPP) values) of the 20 Korean native speakers’ productions. The results showed that unlike Korean affricates, F0 cannot distinguish two fricatives, and voice quality (CPP values) only distinguishes phonation types of Korean fricatives and affricates by grouping non-fortis sibilants together. Therefore, based on the similarity found in /tsʰ/ and /ts/ and the idiosyncratic pattern found in /s/, this research concludes that non-fortis fricative /s/ cannot be categorized as belonging to either phonation type. Keywords: Korean fricatives, Korean affricates, phonation type, acoustic characteristics, breathy voice 1. Introduction aspirated-like characteristic by remaining voiceless in intervocalic position. Whereas the lenis stops become voiced in intervocalic Korean has very well established three-way contrasts (e.g., position (e.g., /pata/ → / [pada] ‘sea’), the aspirated stops do not aspirated, lenis, and fortis) both in stops and affricates in three undergo intervocalic voicing (e.g., /patʰaŋ/ → [patʰaŋ] places of articulation (bilabial, alveolar, velar). However, this ‘foundation’). Since the plain fricative /s/, like the aspirated stops, distinction does not occur in fricatives, leaving only a two-way does not undergo intervocalic voicing, categorizing the plain contrast between fortis fricative /s’/ and non-fortis (hereafter, plain) fricative as aspirated is also possible.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 30,1910-1911, Trip
    J ACADEMY OF MUSIC . BROOKLYN Thirtieth Season, 1910-191 MAX FIEDLER, Conductor flrogratron? of % FIRST CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, NOVEMBER 11 AT 8.15 COPYRIGHT, 1910, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER OPERA AMERICA AND ABROAD Mr. H. WINFRED GOFF Frau CLARA WALLENTHIN- Miss EDITH DE LYS London Covent Garden STRANDBERG Stockholm London Covent Garden two seasons America Savage Grand Opera Royal Opera and Dresden Milan Florence Brussels Rome etc. Mrs. CLARA SEXTON- At present singing in Germany Mr. EARL W. MARSHALL CROWLEY Italy Florence Milan Miss LAURA VAN KURAN Italy Florence etc. Barcelona Now singing in America Italy Florence Now in America Now in Italy Mrs. LOUISE HOMER Mr. MYRON W. WHITNEY Mrs. ALICE KRAFT BENSON France Nantes At present with Aborn Grand Opera Co. New York Paris London Brussels Now with Boston singing in New York Metropolitan Opera Co. Lilian Nordica Concert and Opera Chicago Now Co. Italy - Mme. LENA ABARBANELL Miss FANNY B. LOTT Miss BLANCH FOX (VOLPINI) Austria Hungary Germany etc. Italy Palermo Rimini Pisa etc. Italy Venice Milan Vercelli etc. Metropolitan Opera Co. New York Now singing in Italy American Grand Opera Cos. New Nowsinging "Madam Sherry" N.Y. Miss EDITH FROST STEWART York Chicago San Francisco etc. Mr. HENRY GORRELL To create title role in Victor Her- Miss MARY CARSON (KIDD) Italy Florence Genoa Torino etc. bert's new opera " When Sweet Six- Italy Milan etc. Now singing in Italy teen "now rehearsing in New York Now singing in Italy Mr. FLETCHER NORTON Miss BERNICE FISHER Miss ROSINA SIDNA Now singing in New York With the Boston Opera Co.
    [Show full text]
  • Consonant Intelligibility of Alaryngeal Talkers: Pilot Data* P.C
    CLINICAL ARTICLE Consonant Intelligibility of Alaryngeal Talkers: Pilot Data* P.c. Doyle and J.L Danhauer Abstract Until recently those larygectomized patients who This study investigated the intelligibility of conson­ had met with limited success in acquiring functional eso­ ants produced by two highly proficient and well­ phageal speech were given the sole alternative of using matched alaryngeal talkers, one esophageal (E) and one either externally applied or intraoral artificial laryngeal tracheoesophagea/ (TE). A group of professional and a devices (Salmon and Goldstein, 1979). However, the group of lay listeners orthographically transcribed their recent development of the tracheosophageal (TE) punc­ responses to the speech stimuli. The data were co/­ ture technique (Singer and Blom, 1980) and use of a lapsed into confusion matrices, pooled across listener prosthetic "air shunt" may offer a remarkably successful groups for each talker, and analyzed for the perceptual! and viable alternative for the patient incapable of acquir­ productive features for each talker. The most frequent ing traditional esophageal speech. Further, TE speech perceptual confusion observed for both talkers related has the benefit of being supplied by the pulmonary air to the voicing feature. Based on these pilot data, the TE source, thereby distinguishing it aerodynamically from talker was perceived to be more intelligible than the E the characteristics of esophageal speech. Although both talker. TE and esophageal speech use the pharyngeoesopha­ geal (PE) segment as an alaryngeal voicing source, the Consonant Intelligibility Alaryngeal differences in aerodynamic support and esophageal 0/ insufflation for voicing are critical factors to consider in Talkers: Pilot Data the alaryngeal speech which is ultimately produced.
    [Show full text]
  • Articulating the Psychological and Physiological Responses in Voice and Movement Training
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2015-09-30 Unnamed Encounters: Articulating the Psychological and Physiological Responses in Voice and Movement Training Dyment, Jackie Dyment, J. (2015). Unnamed Encounters: Articulating the Psychological and Physiological Responses in Voice and Movement Training (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/28588 http://hdl.handle.net/11023/2566 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Unnamed Encounters: Articulating the Psychological and Physiological Responses in Voice and Movement Training by Jackie Dyment A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN DRAMA CALGARY, ALBERTA SEPTEMBER, 2015 © Jackie Dyment 2015 Addendum This addendum is to be applied to “Chapter 4: Case Study A, Examining Articulation in Judith Koltai’s Embodied Practice™ through a PAR Methodology”. Following a conversation with Embodied Practice™ founder Judith Koltai regarding Case Study A she disseminated the following edits on April 4th 2016, which I stand behind as necessary to the integrity of this thesis. As they apply most directly to articulating the practice, it is essential they are read.
    [Show full text]
  • Voice Rehabilitation After Laryngectomy Voice Rehabilitation After Laryngectomy
    AIJOC REVIEW ARTICLE Voice Rehabilitation after Laryngectomy Voice Rehabilitation after Laryngectomy 1Audrey B Erman, 2Daniel G Deschler 1Department of Otology and Laryngology, Massachusetts Eye and Ear Infirmary, Harvard Medical School, Boston, Massachusetts, USA 2Director, Division of Head and Neck Surgery, Department of Otology and Laryngology, Massachusetts Eye and Ear Infirmary Associate Professor, Harvard Medical School, Boston, Massachusetts, USA Correspondence: Audrey B Erman, Department of Otology and Laryngology, Massachusetts Eye and Ear Infirmary, Harvard Medical School, Boston, Massachusetts, USA Abstract Improvements in voice rehabilitation over the past century have paralleled the surgical success of laryngectomy. The establishment of the tracheoesophageal puncture marked a turning point in the development of successful and dependable voice rehabilitation. Surgical options include both primary and secondary placement of a tracheoesophageal puncture. Though complications, such as pharyngoesophageal spasm or prosthesis leakage may occur, patients should expect functional voice restoration after laryngectomy. Keywords: Voice rehabilitation, Laryngectomy, Tracheoesophageal puncture, Pharyngoesophageal spasm. INTRODUCTION mechanical and electric options, and many are still used today as a bridge prior to tracheoesophageal speech. Even in the current era of evolving organ preservation The development of esophageal speech may be attainable protocols for treating laryngeal cancer, total laryngectomy by some patients after laryngectomy. With this technique, continues to play a prominent role in curative treatment air is swallowed into the cervical esophagus and then plans. Soon after the first reports of the laryngectomy expelled, vibrating the patient’s own pharyngoesophageal procedure by Billroth, voice rehabilitation was likewise tissue forming a “pseudoglottis” which produces a introduced as an important element in the treatment of functional, yet limited sound source for speech formation.
    [Show full text]
  • Phonological Use of the Larynx: a Tutorial Jacqueline Vaissière
    Phonological use of the larynx: a tutorial Jacqueline Vaissière To cite this version: Jacqueline Vaissière. Phonological use of the larynx: a tutorial. Larynx 97, 1994, Marseille, France. pp.115-126. halshs-00703584 HAL Id: halshs-00703584 https://halshs.archives-ouvertes.fr/halshs-00703584 Submitted on 3 Jun 2012 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Vaissière, J., (1997), "Phonological use of the larynx: a tutorial", Larynx 97, Marseille, 115-126. PHONOLOGICAL USE OF THE LARYNX J. Vaissière UPRESA-CNRS 1027, Institut de Phonétique, Paris, France larynx used as a carrier of paralinguistic information . RÉSUMÉ THE PRIMARY FUNCTION OF THE LARYNX Cette communication concerne le rôle du IS PROTECTIVE larynx dans l'acte de communication. Toutes As stated by Sapir, 1923, les langues du monde utilisent des physiologically, "speech is an overlaid configurations caractéristiques du larynx, aux function, or to be more precise, a group of niveaux segmental, lexical, et supralexical. Nous présentons d'abord l'utilisation des différents types de phonation pour distinguer entre les consonnes et les voyelles dans les overlaid functions. It gets what service it can langues du monde, et également du larynx out of organs and functions, nervous and comme lieu d'articulation des glottales, et la muscular, that come into being and are production des éjectives et des implosives.
    [Show full text]
  • Tracing the Development of Extended Vocal Techniques in Twentieth-Century America
    CRUMP, MELANIE AUSTIN. D.M.A. When Words Are Not Enough: Tracing the Development of Extended Vocal Techniques in Twentieth-Century America. (2008) Directed by Mr. David Holley, 93 pp. Although multiple books and articles expound upon the musical culture and progress of American classical, popular and folk music in the United States, there are no publications that investigate the development of extended vocal techniques (EVTs) throughout twentieth-century American music. Scholarly interest in the contemporary music scene of the United States abounds, but few sources provide information on the exploitation of the human voice for its unique sonic capabilities. This document seeks to establish links and connections between musical trends, major artistic movements, and the global politics that shaped Western art music, with those composers utilizing EVTs in the United States, for the purpose of generating a clearer musicological picture of EVTs as a practice of twentieth-century vocal music. As demonstrated in the connecting of musicological dots found in primary and secondary historical documents, composer and performer studies, and musical scores, the study explores the history of extended vocal techniques and the culture in which they flourished. WHEN WORDS ARE NOT ENOUGH: TRACING THE DEVELOPMENT OF EXTENDED VOCAL TECHNIQUES IN TWENTIETH-CENTURY AMERICA by Melanie Austin Crump A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by ___________________________________ Committee Chair To Dr. Robert Wells, Mr. Randall Outland and my husband, Scott Watson Crump ii APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The School of Music at The University of North Carolina at Greensboro.
    [Show full text]
  • Phd Commentary Final
    PORTFOLIO OF COMPOSITIONS Towards a New Aesthetic in Contemporary Instrumental Ensemble, Vocal and Chamber Opera Composition A thesis submitted for the degree of Doctor of Philosophy by Shirley J. Thompson School of Arts, Brunel University September 2011 Shirley J. Thompson Submission for Doctor of Philosophy School of Arts Brunel University 1 ABSTRACT This submission for the degree of Doctor of Philosophy focuses on works for large instrumental ensemble in conjunction with the voice. Instrumental ensemble and vocal mediums such as the orchestral art song, the song cycle and the opera in one act, provide platforms to explore the expressiveness of the lyrical dramatic voice and the dialectic tension between composing for the solo voice with a range of instrumental ensemble forces. The portfolio of compositions includes the orchestral song, The Woman Who Refused to Dance; the orchestral song trilogy, Spirit Songs; and the opera in one act, Queen Nanny of the Maroons. Issues of composition technique, vocal expression and operatic narrative are examined and in addition the three named works explore notions of post-colonial heroic representation of subjects that might not usually attract ideological recognition in Western European art music contexts. Methods for developing inclusive, post-modern musical language for the mixed instrumental and vocal ensemble are explored; including the employment of spoken word expression and the integration of popular music idioms within contemporary Western European art music contexts. In the writing of lyrics for the songs and libretto for the opera, increased responsibility is assumed in the completion of vocal works in addition to musical consideration to find the effects on the works when the roles of composer and writer are combined.
    [Show full text]
  • Artist Series – Gilbert Kalish Program Notes
    ARTIST SERIES – GILBERT KALISH PROGRAM GEORGE CRUMB (b. 1929) Three Early Songs for Voice and Piano (1947) Night Let It Be Forgotten Wind Elegy Tony Arnold, soprano • Gilbert Kalish, piano FRANZ SCHUBERT (1797-1828) “Der Hirt auf dem Felsen” for Soprano, Clarinet, and Piano, D. 965, Op. 129 (1828) Lisette Oropesa, soprano • David Shifrin, clarinet • Gilbert Kalish, piano JOHANNES BRAHMS (1833-1897) Quartet No. 3 in C minor for Piano, Violin, Viola, and Cello, Op. 60 (1855-56, 1874) Allegro non troppo Scherzo: Allegro Andante Finale: Allegro comodo Gilbert Kalish, piano • Nicolas Dautricourt, violin • Paul Neubauer, viola • Torleif Thedéen, cello NOTES ON THE PROGRAM Three Early Songs for Voice and Piano (1947) George Crumb (b. CHarleston, WV, 1929) Crumb wrote these songs in 1947, the year he graduated high school and entered Mason College in his native Charleston, West Virginia. His now-wife of 70 years, Elizabeth May Brown, was the first to sing them and they are dedicated to her. They are wholly unlike the works that Crumb eventually became famous for—their sound is more early 20th century art song than the unique and otherworldly sound palette he would later develop. Crumb explained that in West Virginia at that time, Debussy was “almost an ultra-modern.” These songs, with delightful melodies and floating harmonies, show that young Crumb, even before finding his mature style, still had a gift for music that is understated yet emotionally powerful. Crumb suppressed the vast majority of his student compositions but he’s allowed performance of these songs. “Most of the music I wrote before the early sixties (when I finally found my own voice) now Chamber Music Society of Lincoln Center causes me intense discomfort,” he writes, “although I make an exception for a few songs which I composed when I was 17 or 18.… these little pieces stayed in my memory and when, some years ago, Jan DeGaetani expressed an interest in seeing them (with a view to possible performance if she liked them), I made a few slight revisions and even decided to have them published.
    [Show full text]
  • Symphony Hall, Boston Huntington and Massachusetts Avenues
    SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 149 1 lostoai Symphony QreSnesfe©J INC SERGE KOUSSEVITZKY, Conductor FORTY-FOURTH SEASON, 1924-1925 PiroErainriime WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1925, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TPJ 5TEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. » FREDERICK P. CABOT . Pres.dent GALEN L. STONE ... Vice-President B. ERNEST DANE .... Treasurei FREDERICK P. CABOT ERNEST B. DANE HENRY B. SAWYER M. A. DE WOLFE HOWE GALEN L. STONE JOHN ELLERTON LODGE BENTLEY W, WARREN ARTHUR LYMAN E. SOHlER WELCH W. H. BRENNAN. Manager C E. JUDD Assistant Manager 1429 — THE INST%U<SMENT OF THE IMMORTALS IT IS true that Rachmaninov, Pader- Each embodies all the Steinway ewski, Hofmann—to name but a few principles and ideals. And each waits of a long list of eminent pianists only your touch upon the ivory keys have chosen the Steinway as the one to loose its matchless singing tone, perfect instrument. It is true that in to answer in glorious voice your the homes of literally thousands of quickening commands,, to echo in singers, directors and musicai celebri- lingering beauty or rushing splendor ties, the Steinway is an integral part the genius of the great composers. of the household. And it is equally true that the Steinway, superlatively fine as it is, comet well within the There is a Steinway dealer in your range of the inoderate income and community or near you through "whom meets all the lequirements of the you may purchase a new Steinway modest home.
    [Show full text]