A Gender Analysis of the Countertenor Within Opera
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The New Dictionary of Music and Musicians
The New GROVE Dictionary of Music and Musicians EDITED BY Stanley Sadie 12 Meares - M utis London, 1980 376 Moda Harold Powers Mode (from Lat. modus: 'measure', 'standard'; 'manner', 'way'). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; most significantly, a concept involving scale type and melody type. The term 'mode' has always been used to designate classes of melodies, and in this century to designate certain kinds of norm or model for composition or improvisation as well. Certain pheno mena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see SOUND, §5. I. The term. II. Medieval modal theory. III. Modal theo ries and polyphonic music. IV. Modal scales and folk song melodies. V. Mode as a musicological concept. I. The term I. Mensural notation. 2. Interval. 3. Scale or melody type. I. MENSURAL NOTATION. In this context the term 'mode' has two applications. First, it refers in general to the proportional durational relationship between brevis and /onga: the modus is perfectus (sometimes major) when the relationship is 3: l, imperfectus (sometimes minor) when it is 2 : I. (The attributives major and minor are more properly used with modus to distinguish the rela tion of /onga to maxima from the relation of brevis to longa, respectively.) In the earliest stages of mensural notation, the so called Franconian notation, 'modus' designated one of five to seven fixed arrangements of longs and breves in particular rhythms, called by scholars rhythmic modes. -
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. -
I. the Term Стр. 1 Из 93 Mode 01.10.2013 Mk:@Msitstore:D
Mode Стр. 1 из 93 Mode (from Lat. modus: ‘measure’, ‘standard’; ‘manner’, ‘way’). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; and, most significantly, a concept involving scale type and melody type. The term ‘mode’ has always been used to designate classes of melodies, and since the 20th century to designate certain kinds of norm or model for composition or improvisation as well. Certain phenomena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see Sound, §5(ii). For a discussion of mode in relation to ancient Greek theory see Greece, §I, 6 I. The term II. Medieval modal theory III. Modal theories and polyphonic music IV. Modal scales and traditional music V. Middle East and Asia HAROLD S. POWERS/FRANS WIERING (I–III), JAMES PORTER (IV, 1), HAROLD S. POWERS/JAMES COWDERY (IV, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 1), RUTH DAVIS (V, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 3), HAROLD S. POWERS/MARC PERLMAN (V, 4(i)), HAROLD S. POWERS/MARC PERLMAN (V, 4(ii) (a)–(d)), MARC PERLMAN (V, 4(ii) (e)–(i)), ALLAN MARETT, STEPHEN JONES (V, 5(i)), ALLEN MARETT (V, 5(ii), (iii)), HAROLD S. POWERS/ALLAN MARETT (V, 5(iv)) Mode I. -
Classification of Voice Modality Using Electroglottogram Waveforms
Classification of Voice Modality using Electroglottogram Waveforms Michal Borsky1, Daryush D. Mehta2, Julius P. Gudjohnsen1, Jon Gudnason1 1 Center for Analysis and Design of Intelligent Agents, Reykjavik University 2 Center for Laryngeal Surgery & Voice Rehabilitation, Massachusetts General Hospital, Boston, MA [email protected], [email protected], [email protected], [email protected] Abstract Subjective voice quality assessment has a long and success- ful history of usage in the clinical practice of voice disorder It has been proven that the improper function of the vocal analysis. Historically, several standards have been proposed folds can result in perceptually distorted speech that is typically and worked with in order to grade the dysphonic speech. One identified with various speech pathologies or even some neuro- popular auditory-perceptual grading protocol is termed GR- logical diseases. As a consequence, researchers have focused BAS [3], which comprises five qualities - grade (G), breath- on finding quantitative voice characteristics to objectively as- iness (B), roughness (R), asthenicity (A), and strain (S). An- sess and automatically detect non-modal voice types. The bulk other popular grading protocol is the CAPE-V [4] which com- of the research has focused on classifying the speech modality prises of auditory-perceptual dimensions of voice quality that by using the features extracted from the speech signal. This include overall dysphonia (O), breathiness (B), roughness (R), paper proposes a different approach that focuses on analyz- and strain (S). These qualitative characteristics are typically ing the signal characteristics of the electroglottogram (EGG) rated subjectively by trained personnel who then relate their au- waveform. -
Kenneth E. Querns Langley Doctor of Philosophy
Reconstructing the Tenor ‘Pharyngeal Voice’: a Historical and Practical Investigation Kenneth E. Querns Langley Submitted in partial fulfilment of Doctor of Philosophy in Music 31 October 2019 Page | ii Abstract One of the defining moments of operatic history occurred in April 1837 when upon returning to Paris from study in Italy, Gilbert Duprez (1806–1896) performed the first ‘do di petto’, or high c′′ ‘from the chest’, in Rossini’s Guillaume Tell. However, according to the great pedagogue Manuel Garcia (jr.) (1805–1906) tenors like Giovanni Battista Rubini (1794–1854) and Garcia’s own father, tenor Manuel Garcia (sr.) (1775–1832), had been singing the ‘do di petto’ for some time. A great deal of research has already been done to quantify this great ‘moment’, but I wanted to see if it is possible to define the vocal qualities of the tenor voices other than Duprez’, and to see if perhaps there is a general misunderstanding of their vocal qualities. That investigation led me to the ‘pharyngeal voice’ concept, what the Italians call falsettone. I then wondered if I could not only discover the techniques which allowed them to have such wide ranges, fioritura, pianissimi, superb legato, and what seemed like a ‘do di petto’, but also to reconstruct what amounts to a ‘lost technique’. To accomplish this, I bring my lifelong training as a bel canto tenor and eighteen years of experience as a classical singing teacher to bear in a partially autoethnographic study in which I analyse the most important vocal treatises from Pier Francesco Tosi’s (c. -
Indo-European Linguistics: an Introduction Indo-European Linguistics an Introduction
This page intentionally left blank Indo-European Linguistics The Indo-European language family comprises several hun- dred languages and dialects, including most of those spoken in Europe, and south, south-west and central Asia. Spoken by an estimated 3 billion people, it has the largest number of native speakers in the world today. This textbook provides an accessible introduction to the study of the Indo-European proto-language. It clearly sets out the methods for relating the languages to one another, presents an engaging discussion of the current debates and controversies concerning their clas- sification, and offers sample problems and suggestions for how to solve them. Complete with a comprehensive glossary, almost 100 tables in which language data and examples are clearly laid out, suggestions for further reading, discussion points and a range of exercises, this text will be an essential toolkit for all those studying historical linguistics, language typology and the Indo-European proto-language for the first time. james clackson is Senior Lecturer in the Faculty of Classics, University of Cambridge, and is Fellow and Direc- tor of Studies, Jesus College, University of Cambridge. His previous books include The Linguistic Relationship between Armenian and Greek (1994) and Indo-European Word For- mation (co-edited with Birgit Anette Olson, 2004). CAMBRIDGE TEXTBOOKS IN LINGUISTICS General editors: p. austin, j. bresnan, b. comrie, s. crain, w. dressler, c. ewen, r. lass, d. lightfoot, k. rice, i. roberts, s. romaine, n. v. smith Indo-European Linguistics An Introduction In this series: j. allwood, l.-g. anderson and o.¨ dahl Logic in Linguistics d. -
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. -
Beauty and the Beast
BEAUTY AND THE BEAST CHARACTER DESCRIPTIONS: BELLE (Stage Age: 18-30) Belle is the original fairy tale heroine–kind, gentle, and beautiful–but with an important 21st Century twist. She is a strong, intelligent, spirited and independent young woman. Belle is the moral conscience of the story, elevated by her thoughts and deeds. The maturity and depth of her character allow her to see the true beauty and spirit within The Beast, and to love him for it. This role requires a very strong singer who portrays innocence with her singing and speaking voice. MezzoSoprano: Low A-High F THE BEAST (Stage Age: 21-35) The Beast’s tortured soul is evident for all to see. He is paying the ultimate price for a moment of mean-spiritedness, and wishes beyond wishing that he could rectify his mistake. There is anger and menace in The Beast’s appearance and behavior, but increasingly we see his soft and endearing side as he interacts with Belle. It becomes clear that he is a loving, feeling, human being trapped within a hideous creature’s body. This role requires a very strong singer, and the actor must have a strong speaking voice and stage presence. Baritone: A–High F GASTON (Stage Age: 21-35) Gaston is the absolute antithesis of The Beast. Although he is physically handsome, he is shallow, completely self-centered, not very bright, and thrives on attention. However, when his ego is bruised he becomes a very dangerous foe for The Beast, Belle and Maurice. This role requires a strong singer and character actor who moves well. -
Vocalist (Singer/Actor)
Vocalist (Singer/Actor) Practitioner 1. Timbre--the perceived sound quality of a musical note or tone that distinguishes different types of sounds from one another 2. Head Voice--a part of the vocal range in which sung notes cause the singer to perceive a vibratory sensation in his or her head 3. Chest Voice-- a part of the vocal range in which sung notes cause the singer to perceive a vibratory sensation in his or her chest 4. Middle Voice-- a part of the vocal range which exists between the head voice and chest voice in a female vocalist 5. Falseto Voice--a part of the vocal range the exist above the head voice in a male vocalist 6. Tessitura—the most musically acceptable and comfortable vocal range for a given singer 7. Modal Voice--the vocal register used most frequently in speech and singing; also known as the resonant mode of the vocal cords, it is the optimal combination of airflow and glottal tension that yields maximum vibration 8. Passaggio--the term used in classical singing to describe the transition between vocal registers (i.e. head voice, chest voice, etc.) 9. Belting—a specific technique of singing by which a singer brings his or her chest register above its natural break point at a loud volume; often described and felt as supported and sustained yelling 10. Melisma—a passage of multiple notes sung to one syllable of text 11. Riffs and Runs –melodic notes added by the singer to enhance the expression and emotional intensity of a song; a form of vocal embellishments during singing 12. -
The Race of Sound: Listening, Timbre, and Vocality in African American Music
UCLA Recent Work Title The Race of Sound: Listening, Timbre, and Vocality in African American Music Permalink https://escholarship.org/uc/item/9sn4k8dr ISBN 9780822372646 Author Eidsheim, Nina Sun Publication Date 2018-01-11 License https://creativecommons.org/licenses/by-nc-nd/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Race of Sound Refiguring American Music A series edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles McGovern, contributing editor The Race of Sound Listening, Timbre, and Vocality in African American Music Nina Sun Eidsheim Duke University Press Durham and London 2019 © 2019 Nina Sun Eidsheim All rights reserved Printed in the United States of America on acid-free paper ∞ Designed by Courtney Leigh Baker and typeset in Garamond Premier Pro by Copperline Book Services Library of Congress Cataloging-in-Publication Data Title: The race of sound : listening, timbre, and vocality in African American music / Nina Sun Eidsheim. Description: Durham : Duke University Press, 2018. | Series: Refiguring American music | Includes bibliographical references and index. Identifiers:lccn 2018022952 (print) | lccn 2018035119 (ebook) | isbn 9780822372646 (ebook) | isbn 9780822368564 (hardcover : alk. paper) | isbn 9780822368687 (pbk. : alk. paper) Subjects: lcsh: African Americans—Music—Social aspects. | Music and race—United States. | Voice culture—Social aspects— United States. | Tone color (Music)—Social aspects—United States. | Music—Social aspects—United States. | Singing—Social aspects— United States. | Anderson, Marian, 1897–1993. | Holiday, Billie, 1915–1959. | Scott, Jimmy, 1925–2014. | Vocaloid (Computer file) Classification:lcc ml3917.u6 (ebook) | lcc ml3917.u6 e35 2018 (print) | ddc 781.2/308996073—dc23 lc record available at https://lccn.loc.gov/2018022952 Cover art: Nick Cave, Soundsuit, 2017. -
Jan Börner, Countertenor Jan Börner Began His Musical Education Already at the Age of Nine When He Joined the Boys' Choir in His Home Town Solothurn
Jan Börner, Countertenor Jan Börner began his musical education already at the age of nine when he joined the Boys' Choir in his home town Solothurn. When he was eleven, he performed for the first time as boy soprano. Jan Börner was a private student of Richard Levitt before completing his musical degree under Professor Ulrich Messthaler at the Schola Cantorum Basiliensis and graduating with the diploma in Early Music. He was also taught by Andreas Scholl and Margreet Honig. As a soloist, Jan Börner focuses on music from the Renaissance and the Baroque period. He has performed with various vocal ensembles such as the Balthasar Neumann Chor, Vox Luminis and Le Concert Étranger. At the J.S. Bach foundation (Rudolf Lutz) he is a regular soloist. He also performs regularly at the Abendmusiken in the Predigerkirche Basel (Jörg-Andreas Bötticher) with music from the 17th century. He has been working closely with the ensemble Il Profondo for a few years. Together with this ensemble, several concerts have been realized, and a first record with early German cantatas and spiritual concerts of the 17th century was released in May 2015 at the label resonando under the name «absorta est...». It has received positive critics throughout the media and has been nominated for the Preis der Deutschen Schallplattenkritik. Another CD called «Freundliches Glück, süsseste Liebe» – with Nuria Rial and Il Profondo – will be released in 2020. Up to now, his more extraordinary performances include the recording of Bach's St John Passion with the Ricercar Consort (Philippe Pierlot) and solo performances at the Festival d'Ambronay in 2015 and 2016 (Bach's St Matthew Passion, among others) with Le Concert Étranger (Itay Jedlin, Paris). -
Free Online Vocal Remover from Song
Free online vocal remover from song Continue By Jason Parnell Updated September 22, 2017 Removing vocals from the stereo song is simple, although the theory is complicated. The vocals are usually mixed with the center of the song, while the other elements are slightly panned left and right. Inverting one of the channels creates a phase cancellation that disables everything in the center. It's easier to think about it: the sound moves in waves with peaks and valleys, and when the valley meets the peak they cancel. You can easily achieve this without having advanced knowledge. Open Sony Soundforge and download the song you want to edit. Use a high-quality wave file to achieve the best results and because not all versions of Sony Sound Forge 9.0 support MP3 file editing. Double-click in the center of the wave to select the entire song. Also, click once on the wave shape and select Change, then select everything from the top menu. Select Process, then Channel Converter from the file menu. From the channel converter drop-off menu, select Stereo to Stereo Vocal Cut. From the Converter dialog screen, select a field marked Invert on the right channel. Process the audio file and delete the vocals by selecting OK from the channel's dialog converter screen. When the file is finished processing, review the track and check the results by clicking the Play button. The audio was removed by lifting from the center of the channel, where the vocals are usually mixed. Drums and bass also occupy the central channel, so you may notice the song sounds a little different.