Hofstra University Library Accessions List Report: May 2008
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 -
Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development. -
The Baritone Voice in the Seventeenth and Eighteenth Centuries: a Brief Examination of Its Development and Its Use in Handel’S Messiah
THE BARITONE VOICE IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES: A BRIEF EXAMINATION OF ITS DEVELOPMENT AND ITS USE IN HANDEL’S MESSIAH BY JOSHUA MARKLEY Submitted to the graduate degree program in The School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Dr. John Stephens ________________________________ Dr. Michelle Hayes ________________________________ Dr. Paul Laird ________________________________ Dr. Julia Broxholm ________________________________ Mr. Mark Ferrell Date Defended: 06/08/2016 The Dissertation Committee for JOSHUA MARKLEY certifies that this is the approved version of the following dissertation: THE BARITONE VOICE IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES: A BRIEF EXAMINATION OF ITS DEVELOPMENT AND ITS USE IN HANDEL’S MESSIAH ________________________________ Chairperson Dr. John Stephens Date approved: 06/08/2016 ii Abstract Musicians who want to perform Handel’s oratorios in the twenty-first century are faced with several choices. One such choice is whether or not to use the baritone voice, and in what way is best to use him. In order to best answer that question, this study first examines the history of the baritone voice type, the historical context of Handel’s life and compositional style, and performing practices from the baroque era. It then applies that information to a case study of a representative sample of Handel’s solo oratorio literature. Using selections from Messiah this study charts the advantages and disadvantages of having a baritone sing the solo parts of Messiah rather than the voice part listed, i.e. tenor or bass, in both a modern performance and an historically-informed performance in an attempt to determine whether a baritone should sing the tenor roles or bass roles and in what context. -
Understanding the Lirico-Spinto Soprano Voice Through the Repertoire of Giovane Scuola Composers
UNDERSTANDING THE LIRICO-SPINTO SOPRANO VOICE THROUGH THE REPERTOIRE OF GIOVANE SCUOLA COMPOSERS Youna Jang Hartgraves Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2017 APPROVED: Jeffrey Snider, Major Professor William Joyner, Committee Member Silvio De Santis, Committee Member Stephen Austin, Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Hartgraves, Youna Jang. Understanding the Lirico-Spinto Soprano Voice through the Repertoire of Giovane Scuola Composers. Doctor of Musical Arts (Performance), August 2017, 53 pp., 10 tables, 6 figures, bibliography, 66 titles. As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.’ This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices. -
An Analysis and Discussion of Zwischenfach Voices by Jennifer
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ASU Digital Repository An Analysis and Discussion of Zwischenfach Voices by Jennifer Allen A Research Paper Presented in Partial Fulfillment of the Requirements of the Degree Doctor of Musical Arts Approved April 2012 by the Graduate Supervisory Committee: Carole FitzPatrick, Co-Chair Kay Norton, Co-Chair Dale Dreyfoos Russell Ryan Robert Barefield ARIZONA STATE UNIVERSITY May 2012 ABSTRACT Zwischen in the German language means ‘between,’ and over the past century, as operatic voices have evolved in both range and size, the voice classification of Zwischenfach has become much more relevant – particularly to the female voice. Identifying whether nineteenth century composers recognized the growing opportunities for vocal drama, size, and range in singers and therefore wrote roles for ‘between’ singers; or conversely whether, singers began to challenge and develop their voices to sing the new influx of romantic, verismo and grand repertoire is difficult to determine. Whichever the case, teachers and students should not be surprised about the existence of this nebulous Fach. A clear and concise definition of the word Fach for the purpose of this paper is as follows: a specific voice classification. Zwischenfach is an important topic because young singers are often confused and over-eager to self-label due to the discipline’s excessive labeling of Fachs. Rushing to categorize a young voice ultimately leads to misperceptions. To address some of the confusion, this paper briefly explores surveys of the pedagogy and history of the Fach system. To gain insights into the relevance of Zwischenfach in today’s marketplace, I developed with my advisors, colleagues and students a set of subjects willing to fill out questionnaires. -
Dispelling Vocal Myths. Part IV: “Talk Higher!”
VOICE PEDAGOGY Scott McCoy, Associate Editor Dispelling Vocal Myths. Part IV: “Talk Higher!” Deirdre Michael y associate, Lisa Butcher, MM, MA, CCC/SLP, came into my office, sighing and shaking her head. “In your next ‘myths’ article, will you please tell singing teachers to stop telling their students ‘you need to talk higher’? I’m so tired of treating sing- Mers who have muscle tension and pain because they’re trying to talk at some totally inappropriate pitch and register adjustment!” I have agreed with this for years, and when we discussed the topic with other voice-specialty speech language pathologists, they lamented universally that the “talk higher” myth Deirdre Michael is common not only among singing teachers, but among nonvoice-specialty speech language pathologists as well. This is the fourth in a series of articles aimed at clarifying misconceptions about vocal production that can cause technical problems, or reduced effi- ciency in singing. One of the reasons to call these misconceptions “myths” is that they seem to have been learned implicitly rather than explicitly. In this case, though, I believe there has been explicit teaching and learning of information that is no longer considered correct. Indeed, Lisa is referring to something these singers have been told very specifically by their teachers: “You’re speaking at too low a pitch; talk higher.” Like many of the ana- tomically incorrect images we use routinely in the studio, this advice is well motivated, but can have unintended consequences. MYTH #1: “CHEST VOICE” iS DANGEROUS; ONE SHOULD TALK In “HEAD VOICE” BECAUSE IT PROTECTS THE VOICE Actually, while this myth was still active some twenty years ago, it isn’t particu- larly pervasive now (as far as I can tell). -
Percy Mackaye: Spatial Formations of a National Character
Percy MacKaye: Spatial Formations of a National Character by Michael Peter Mehler B.S., Northwestern University, 1991 M.F.A., University of Texas at Austin, 1994 Submitted to the Graduate Faculty of The School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2010 UNIVERSITY OF PITTSBURGH THE SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Michael Peter Mehler It was defended on January 29, 2010 and approved by Attilio Favorini, Professor, Theatre Arts Kathleen E. George, Professor, Theatre Arts Edward K. Muller, Professor, History Dissertation Advisor: Bruce A. McConachie, Professor, Theatre Arts ii Copyright © by Michael Peter Mehler 2010 iii PERCY MACKAYE: SPATIAL FORMATIONS OF A NATIONAL CHARACTER Michael Peter Mehler, Ph.D. University of Pittsburgh, 2010 Percy MacKaye has been mostly ignored by theatre historians and dramatic critics despite the large numbers of spectators, participants, and readers who encountered his work during the first third of the twentieth century. The fifth son of nineteenth-century theatre impresario, Steele MacKaye, Percy first embarked on a career in the commercial theatre, writing for established stars such as Julia Marlowe. However, MacKaye garnered much more public attention for his endeavors into community performance, what he termed civic theatre. He wrote several treatises and delivered countless speeches advocating for the civic theatre. In 1914, at the peak of his career, MacKaye wrote and produced The Masque of Saint Louis, which incorporated thousands of community performers and drew nightly audiences that averaged nearly 100,000. This investigation of MacKaye’s works relies heavily on spatial analysis, looking at how contemporary American spaces related to the scenographic spaces in these plays and masques. -
How Vocal Classification Affects Young Singers
Portland State University PDXScholar University Honors Theses University Honors College 2015 How Vocal Classification Affects Young Singers Anthony Nguyen Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Let us know how access to this document benefits ou.y Recommended Citation Nguyen, Anthony, "How Vocal Classification Affects Young Singers" (2015). University Honors Theses. Paper 134. https://doi.org/10.15760/honors.129 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Anthony Nguyen May 22, 2015 HON 403 Professor Fallon Thesis: How Voice Classification Affects Young Singers Abstract Most young classical singers will encounter different vocal pedagogues with different and sometimes opposing methods. One of the main aspects of training a young singer is deciding what voice type they should train in, a decision that should not made solely by the student or the teacher. There is ambiguity over when and how it is appropriate to classify a young singer's voice type. Some pedagogues recommend forgoing any classification in favor of a more singing foundation-based teaching in early vocal development. Some teachers claim certain vocal exercises will help determine the correct voice type. Other studies have attempted to standardize voice types with use of technology such as the Long term average spectrum or examination of vocal tract lengths. With a better understanding of how voices types are defined and developed, the singer will be better able to proceed with their vocal development with more awareness as to not manipulate, and to potentially damage, their voice. -
The Development of a Fach System for the Tenor Oratorio Repertoire
James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2017 The evelopmeD nt of a Fach System for the Tenor Oratorio Repertoire Randall C. Ball James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Music Education Commons, Music Pedagogy Commons, Music Performance Commons, and the Music Practice Commons Recommended Citation Ball, Randall C., "The eD velopment of a Fach System for the Tenor Oratorio Repertoire" (2017). Dissertations. 145. https://commons.lib.jmu.edu/diss201019/145 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. The Development of a Fach System for the Tenor Oratorio Repertoire Randall Criswell Ball A Doctor of Musical Arts document submitted to the Graduate Faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2017 FACULTY COMMITTEE: Committee Chair: Kevin McMillan, M.M. Committee Members/Readers: Don Rierson, Ph.D. Jo-Anne van der Vat-Chromy, Ph.D. DEDICATION Soli Deo Gloria ii ACKNOWLEDGEMENTS First of all, I would like to thank my committee for their exceptional guidance throughout this process. Each one brought unique talents and singular perspective to my degree program and the scholarship involved in this document. I would like to thank Kevin McMillan for being my mentor, advisor, voice teacher, chair of my committee, cheerleader, and colleague throughout my doctoral program. -
Bridging the Gap Between Opera and Musical Theatre
The Crossover Opera Singer: Bridging the Gap Between Opera and Musical Theatre D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Keyona Willis-Lynam, M.M Graduate Program in Music The Ohio State University 2015 D.M.A. Document Committee: J. Robin Rice, Advisor Joe Duchi Kristine Kearney Copyright by Keyona Willis-Lynam 2015 Abstract For decades, a divide has existed between opera and musical theatre, with the lesser value being placed upon the latter. Singers, from the start of their training, are told to choose a genre if one wants to achieve any type of singing success. This type of division creates a chasm of isolation and misunderstanding between the musical styles. From academia, to the stage, to the concert goer, one’s allegiance to opera versus musical theatre has been built upon a firm foundation of contrast, without acknowledging that both genres have ties to one another. As a result, most teaching of singing is done from the perspective of the classical singing style, with little to no mention of how to efficiently and healthily sing in a musical theatre style. In today’s social and economic climate, opera houses across the United States and abroad are seeing a decline in ticket sales; some have been able to restructure to survive, while others are shutting down. Companies are seeking a variety of ways to stay connected to the community; one avenue that has produced an area of contention is the addition of musical theatre productions to the season’s billing. -
University Microfilms, a XEROX Company, Ann Arbor, Michigan
71-12,554 CARROLL, Frances Laverne, 1925- THE DEVELOPMENT OF AN INSTRUMENT FOR THE EVALUATION OF INTERNATIONALISM IN EDUCATION FOR LIBRARIANSHIP. The University of Oklahoma, Ph.D., 1970 Education, general University Microfilms, A XEROX Company, Ann Arbor, Michigan COPYRIGHT 1971 Frances Laverne Carroll 111 THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED THE m i V E E S H Y OF OKLAHOMA. GRADUATE COLLEGE THE DEVELOPMENT OF AN INSTRUMEOT FOR THE EVALUATION OF INTERNATIONALISM IN EDUCATION FOR LIBRARIANSHIP A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY FRANCES LAVERLLE CARROLL Norman, Oklahoma 1970 THE DEVELOPMENT OF AN INSTRUMENT FOR THE EVALUATION OF INTERNATIONALISM IN EDUCATION FOR LIBRARIANSHIP APPROVED BY J ~ ^ DISSERTATION COMÎ^ITTEE PLEASE NOTE; Some pages have small and indistinct type. Filmed as received, University Microfilms ACKNOWLEDGMENT Appreciation to my doctoral committee, especially Mary Glare Petty, chairman, under whose sponsorship this work was done; my family; members of the American Library Association; and the staff of the U.S. Office of Education is humbly acknowledged. IV FOREWORD "Today as always library schools feel pressure for improvement. Throughout their existence they have been criticized freely and fre- 1 quently, so that they ha-ve had little chance to forget their weaknesses." The comment, made nearly thirty years ago, is appropriate in 1970. Formal education for librarianship in America will celebrate its one-hundredth anniversary In 1987. Dewey chose a program of technical education, which was popular at that time, over the apprenticeship form 2 of training in. -
The Fall of the Tenor with the Rise of the Larynx
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2017 THE FALL OF THE TENOR WITH THE RISE OF THE LARYNX Gregory Turay University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.358 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Turay, Gregory, "THE FALL OF THE TENOR WITH THE RISE OF THE LARYNX" (2017). Theses and Dissertations--Music. 96. https://uknowledge.uky.edu/music_etds/96 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.