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From the Vocal Studio to the Practice Room: an Overview of the Literature on Effective Practicing and an In-Depth Study of Vocal Exercise Books
ABSTRACT Title of Document: FROM THE VOCAL STUDIO TO THE PRACTICE ROOM: AN OVERVIEW OF THE LITERATURE ON EFFECTIVE PRACTICING AND AN IN-DEPTH STUDY OF VOCAL EXERCISE BOOKS. Rebecca Bell Echols, Doctor of Musical Arts, 2013 Directed By: Professor Dominic Cossa, School of Music The purpose of this dissertation was to compile a list of resources to aid singers in their pursuit toward effective practicing. A survey was given to one hundred anonymous participants: fifty vocal students and fifty vocal teachers. The data collected from this survey showed that vocal students would like more resources available to aid in practicing more effectively. Additionally, the study reveals that many of the vocalise books that are in the vocal repertoire have fallen from tradition for reasons unknown, while one composer’s vocalise book, Nicola Vaccai’s, still remains in the teacher and student repertoire. This study provides resources culled from journals, text books, and musical scores. Also provided is a library of vocalises, which are divided into categories on specific vocal matters. The vocalises are categorized alphabetically, by both the category and composer. The final chapter shows the results of the surveys. FROM THE VOCAL STUDIO TO THE PRACTICE ROOM: AN OVERVIEW OF THE LITERATURE ON EFFECTIVE PRACTICING AND AN IN-DEPTH STUDY OF VOCAL EXERCISE BOOKS. By Rebecca Bell Echols Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of DMA 2013 Advisory Committee: Professor Dominic Cossa, Chair Professor Martha L. Randall Professor Timothy McReynolds Professor Delores Ziegler Professor Denny Gulick, Dean’s Representative © Copyright by Rebecca Bell Echols 2013 Dedication I’d like to thank my friends, family, and mentors for all of their support not only throughout this process, but throughout my entire musical career. -
Shakespeare in the Music Library (PDF)
If music be the food of love: Shakespeare in the Music Library An exhibit in commemoration of the 400th anniversary of the death of William Shakespeare Curated and written by John Bewley, Ph.D. Associate Librarian Music Library University at Buffalo April 2016-June 2016 Music provides a kaleidoscopic array of perspectives through which scholars can view the works and influences of William Shakespeare. While many people are familiar with the most famous uses of Shakespeare in music in such works as Tchaikovsky’s Romeo and Juliet Overture-Fantasy, Verdi’s Shakespeare operas (Falstaff, Macbeth, and Otello), Mendelssohn’s incidental music for A Midsummer Night’s Dream, and Prokofiev’s Romeo and Juliet ballet, this exhibit will highlight some of the most significant topics related to the intersections of Shakespeare and music with some lesser-known examples from the holdings of the Music Library. The use of music in Shakespeare’s plays Music plays a significant role in Shakespeare’s plays through three guises: music performed as part of the play, references in the text to song titles, and the use of words with musical connotations. Shakespeare’s use of performed music in his plays was so extensive that only The Comedy of Errors is without music. One of the remarkable aspects of Shakespeare’s use of music is how integral it is to the dramatic structure in the plays. Some of the music serves as a direct part of the action, such as fanfares associated with processions or to mark royal entrances. In other instances Shakespeare used music as an agent for an action, such as when a lullaby is sung to put a character to sleep. -
Adetu, E.G.: Biblical and Religious Symbols in Italian Romantic Opera
Bulletin of the Transilvania University of Braşov Series VIII: Performing Arts • Vol. 13(62) No.2 - 2020 https://doi.org/10.31926/but.pa.2020.13.62.2.1 Biblical and religious symbols in Italian romantic opera. Perspectives of musical hermeneutics Edith Georgiana ADETU1 Abstract: The 19th century brings in opera music new ways of thematic and stylistic approach. The escalation of revolutionary and political events influences the artistic life of the Italian nation, awakening in composers such as Rossini, Donizetti, Verdi another kind of spirituality. During this period, the Italian lyrical theater is moving towards new ways of expression, emphasizing the relationship between man and divinity. In these conditions, we can observe a stylistic evolution of the musical discourse, dominated by the influence of the biblical themes that the opera composers develop through dramaturgy. Numerous scenes taken from the Old Testament are found in the music of Italian operas from this period, marking an initiatory path of Italian spirituality and ethos of the nineteenth century. In this research we will present relevant musical examples from works such as Mose in Egitto - Rossini, Il diluvio universale - Donizetti, Nabucco - Verdi, Jerusalem – Verdi, highlighting the symbolic elements taken from the biblical text, rendered through music and stage action. Key-words: Opera, Italian Romanticism, Biblical symbols, Hermeneutics 1. Introduction: the science of hermeneutics and the understanding of opera music According to historical evidence and testimonies, the hermeneutic sciences developed accordingly with the evolution of society. “Plato approaches a hermeneutics of symbols, Aristotle leaves as a legacy a treatise on interpretation, Jewish and Christian theology deepens the understanding of holy books, and later, in the Middle Ages and Renaissance patristic theology and the art of interpreting philological texts stand out as branches of hermeneutic sciences” (Coroiu 2018, 34). -
Privilege and Property: Essays on the History of Copyright
Privilege and Property Essays on the History of Copyright Edited by Ronan Deazley, Martin Kretschmer and Lionel Bently To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/26 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Daniel Chodowiecki’s allegorical copper plate of 1781 shows unauthorised reprinters and original publishers, respectively as highwaymen and their victims while the Goddess of Justice is asleep. The full title reads: ‘Works of Darkness. A Contribution to the History of the Book Trade in Germany. Presented Allegorically for the Benefit of and as a Warning to All Honest Booksellers.’ The identities of most of the characters have been identified: the bandit chief is the Austrian publisher Johann Thomas von Trattner (1717-1798) who made a fortune by reprinting books from other German- speaking territories. His victims are the publishers Friedrich Nicolai (in the centre), and Philipp Erasmus Reich (fleeing into the background). The small bat-like monster hovering overhead (a position normally reserved for angels in religious paintings!) is modelled on Gerhard van Swieten (1700-1772), an influential adviser and doctor of Maria Theresa of Austria who eased censorship regulations but encouraged the reprinting of foreign books in Austria. Nicolai’s right arm extends the bat monster’s line of gaze and points to the head of the Goddess Justitia, sleeping as if drugged by the poppy blossoms above her head. -
Francisco De Lacerda and Claude Debussy: the Crossing of Two Musical Paths
Universidade de Aveiro Departamento de Comunicação e Arte Ano 2017 JOÃO MANUEL A MÚSICA PARA PIANO DE FRANCISCO DE PEREIRA LACERDA E A INFLUÊNCIA DE CLAUDE DEBUSSY BETTENCOURT DA CÂMARA THE PIANO MUSIC OF FRANCISCO DE LACERDA AND THE INFLUENCE OF CLAUDE DEBUSSY Universidade de Aveiro Departamento de Comunicação e Arte Ano 2017 JOÃO MANUEL A MÚSICA PARA PIANO DE FRANCISCO DE PEREIRA LACERDA E A INFLUÊNCIA DE CLAUDE DEBUSSY BETTENCOURT DA CÂMARA THE PIANO MUSIC OF FRANCISCO DE LACERDA AND THE INFLUENCE OF CLAUDE DEBUSSY Tese apresentada à Universidade de Aveiro para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Música, realizada sob a orientação científica do Doutor António José Vassalo Neves Lourenço, Professor Auxiliar do Departamento de Comunicação e Arte da Universidade de Aveiro A meus pais, a quem tudo devo! júri presidente Doutor Vasile Staicu Professor Catedrático, Universidade de Aveiro Doutor António José Vassalo Neves Lourenço Professor Auxiliar, Universidade de Aveiro Doutora Sofia Inês Ribeiro Lourenço da Fonseca Professora Adjunta, Escola Superior de Música e Artes do Espetáculo Doutor Michel Marie Joseph Gabriel Renaud Professor Catedrático Aposentado, Universidade Nova de Lisboa Doutor Fausto Manuel da Silva Neves Professor Auxiliar Convidado, Universidade de Aveiro Doutor Francisco José Dias Santos Barbosa Monteiro Professor Coordenador, Escola Superior de Educação do Porto Música, impressionismo/simbolismo musical, piano performance, palavras-chave Francisco de Lacerda, Claude Debussy. resumo Francisco de Lacerda (1869-1934) foi um compositores mais relevantes da história da música em Portugal, dado o seu papel importante no contexto da escola impressionista deste país. No entanto, as primeiras obras de Lacerda denotam uma linguagem distinta daquela que revela nos seus últimos anos como compositor, ainda ligada a uma abordagem algo conservadora da música, que teve as suas raízes na estética de César Franck e de outros músicos românticos. -
Baroque-Heading-Towards-Rococo Piece Is a Great Addition a Cantata with a Pair of Horns That Is Not Too Taxing for the to the Catalogue
Early Music Review EDITIONS OF MUSIC Barbare) for the 10 Ordinary masses are given with critical annotations xcvii-cxiv. Adding a translation to a volume Palestrina: Le messe dei Gonzaga. already weighing 6 or 7 lbs. was not feasible, but a volume with ‘only’ 463 pages of music separate from another of clvii Musiche della cappella di Santa Barbara pages could have provided also in English translation the in Mantova sections about Guglielmo, Palestrina and the compositional Ed. Ottavio Beretta (Vol. IV: Messe di Giovanni Pierluigi style of the masses! da Palestrina) Beretta opted to include the entire correspondence LIM, 2016, pp. clviii + 470. between Palestrina and Guglielmo in a 30-page appendix, ISBN 9788870968163 €100 after which he discusses what the instructions and intentions of Guglielmo were. Both respected the orders hese 12 polyphonic alternatim masses (alternating of the Council of Trent and thereby produced a type of monodic with polyphonic choruses, the monodic mass that the Vatican also desired to have for occasions of Tplainchant by solo, organ, or unison chorus or the highest solemnity, where a second choir replaced the soloists), commissioned by the court of Mantua between organ. Palestrina therefore asked Guglielmo for permission 1568 and 1579, are the only ones written for a liturgy (willingly granted) to use the Mantuan plainchant repertory different from Rome’s by Palestrina and his only masses in Rome. In its variants and rewritings it respected the unity composed between 1575 and 1581. They are of remarkable of mode in each piece, with the finalis and repercussion at the quality and well documented, yet ‘lost’ and unknown until beginning and end of every verse, filled in wide skips with 1950. -
Malibran Harps
Malibran recalled (Harps and tears) Alexander Weatherson No one knows when this multicomposer cantata in memory of Maria Malibran was actually conceived, nor who was responsible for the idea in the first place. Vaccai's letters tell us nothing of significance, nor do those of Donizetti and Mercadante. How and when its short list of composers was decided-upon too is a mystery, only the state of their autograph material - showing haste or otherwise - can supply a clue. This five-composer cantata came and went very quickly - it was performed just once and then went the way of all such lachrymose ephemera. Ephemera? Above is the frontispiece of the vocal score that followed in its wake, that is, after its single appearance on the stage at the Teatro alla Scala in Milan on 17 March 1837, five months or so after the disappearance of the great diva at the height of her fame. No one can accuse the theatre of failing her (as she failed the theatre on so many occasions) but her memorial cantata failed to survive. Now it is to reappear. Its protagonists were the very best that could be got together at short notice: Sofia Dell’Oca Schoberlechner, Francesco Pedrazzi, Pietro Milesi, Benedetta Colleoni-Corti, Marietta Brambilla, Teresa Brambilla, Ignazio Marini, Orazio Cartagenova, Carlo Marcolini, Carolina Lusignani and Felicità Baillou- Hilaret - a starry roster including all those in the current scaligero stagione with an added artist or two. And the cantata ended the season, the great theatre did not reopen again until the beginning of the following July. -
La Ópera En México, 1841-1843
HISTORIA La ópera en México, 1841-1843 por José Octavio Sosa emodelado el Teatro de los Gallos o Provisional, como se le conocía, y al que después se llamó Teatro de la Ópera, se Rpresentó en julio de 1841 la Compañía de Ópera Italiana de Anaide Castellan de Giampietro (Lyon, 1821 - París, 1861) y del empresario Roca. El 9 de octubre de 1822 se había inaugurado ese modesto coliseo, llamado así porque en ese sitio había funcionado un palenque con peleas de gallos, con la obra teatral Aradín Barba Roja o Los piratas en el bosque de los sepulcros, de cuyo autor se desconoce el nombre. El teatro estaba ubicado en la calle Las Moras, actualmente República de Colombia. Un incendio lo destruyó, casi en su totalidad, en 1824. Su propietario, Diego Ramón Somera lo hizo reconstruir, añadiéndole techo de vigas y otras mejoras notables, reinaugurándolo con el nombre de Teatro Provisional, el 21 de agosto de 1825, con la comedia La niña en casa y la madre en las máscaras. Se anunciaron para la temporada de ópera abonos para 90 representaciones, dos o tres por semana, con los siguientes precios: palcos con seis asientos para la temporada, 540 pesos; balcón, 96 pesos; luneta, 86 pesos; galería en primeras filas, 30 pesos; segunda y siguientes, 22 pesos. La orquesta estaba formada por 36 elementos italianos y mexicanos, y el coro por 12 damas y 14 caballeros mexicanos e italianos, destacando en la orquesta el compositor, pianista y violinista irlandés William Vincent Wallace (1812-1865), que fue concertino y director sustituto, además de Vincenzo Bellini (1801-1835) José Ma. -
Studies in the History of the Cadence Caleb Michael Mutch Submitted In
Studies in the History of the Cadence Caleb Michael Mutch Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 1 © 2015 Caleb Michael Mutch All rights reserved 2 ABSTRACT Studies in the History of the Cadence Caleb Michael Mutch This dissertation traces the development of the concept of the cadence in the history of music theory. It proposes a division of the history of cadential theorizing into three periods, and elucidates these periods with four studies of particularly significant doctrines of musical closure. The first of these periods is the pre-history of the cadence, which lasted from the dawn of medieval music theory through the fifteenth century. During this time theorists such as John of Affligem (ca. 1100), whose writings are the subject of the first study, developed an analogy between music and the classical doctrine of punctuation to begin to describe how pieces and their constituent parts can conclude. The second period begins at the turn of the sixteenth century, with the innovative theory expounded by the authors of the Cologne school, which forms the subject of the second study. These authors identified the phenomenon of musical closure as an independent concept worthy of theoretical investigation, and established the first robustly polyphonic cadential doctrine to account for it. For the following three centuries theorists frequently made new contributions to the theorizing of the cadence in their writings, as exemplified by the remarkable taxonomy of cadences in the work of Johann Wolfgang Caspar Printz (1641-1717), the subject of the third study. -
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- »• ■ K Journal Confédération^de la r / j / m • ,M1M. lix V^k^X V wxe 7 S Fi'H N CND OsD A co w sa F I E To 9 T To 2 I T u E f D 3 C O To U ' JF!"i « | m àëêsmM H»ZSr vSvIvMv <tVS.V\ 9 O N F N E rr»-- - R ÆMÊimmmàmà A • - >-r> e 3 To k U I gérard ® billaudot éditeur 14, rue de l’Échiquier, 75010 PARIS Tél.: (1) 47.70.14.46 NOUVEAUTÉS PÉDAGOGIQUES 1987 PIANO TROMPETTE — L. DESCAVES & F. RIEUN1ER : Approche de l'écriture — ARBAN : La grande méthode complète pour cornet à pistons contemporaine au piano et saxhorn, arrangée et augmentée pour la trompette par • volume I Maurice ANDRÉ et Michel RICQUIER (traduite en anglais, allemand, japonais en volumes séparés) — J. WUILLÈME : Sur un fil... Éducation musicale complète pour jeunes enfants COR Méthode simple cl progressive préparatoire à l'étudedu piano D. BOURGUE: Tcchni-cor, exercices journaliers suivis de • cahier I traits d'orchestre (bilingue) • Volume I : Flexibilités ENSEIGNEMENT TROMBONE — M.-J. BOURDEAUX : Nouvelles leçons de solfège rythmique — Y. BORDÈRES : 35 petites éludes techniques • Cahier 2 : Préparatoire 2 - Élémentaire I • Cahier 3 : élémentaire-moycn • Cahier 3 : Élémentaire 2 - Fin d’études I — Y. BORDÈRES: Spécial syncopes du classique au jazz en — R. CALMEL : Le tombeau de Gabriel Fauré pour la forma passant par le ragtime, 50 récréations progressives sur les tion musicale (pour chanter - solfier - vocaliser - jouer ou syncopes pour trombone danser) (Livres de l'élève et du professeur) — A. GOUDENHOOFT: Aperçu du trombone basse double noix — J. -
1 Bibbia E Melodramma 1
BIBBIA E MELODRAMMA 1 - Non è questa la sede per affrontare il tema della conoscenza della Bibbia nei paesi cattolici (ben diverso è il rapporto col testo sacro del cristianesimo che i fedeli hanno nei paesi protestanti), ma alcune brevi note sono necessarie per capire meglio le considerazioni che saranno oggetto di questo testo dedicato alla presenza di storie e personaggi biblici nel melodramma. Nel primo millennio la Chiesa non sentì la necessità di promulgare regole circa la lettura della Bibbia, cui si accostavano solo i chierici, poiché l’analfabetismo (diffuso anche fra persone di alto rango) e il costo dei libri non ne permettevano la diffusione. Solo nel secolo XIII la Chiesa iniziò a contrastarne la lettura in lingua volgare, onde evitare interpretazioni eretiche, come si può desumere da quanto fu dichiarato nel Sinodo di Tolosa del 1229: “Proibiamo che qualsiasi laico possieda i libri del vecchio o del nuovo Testamento tradotti in lingua volgare” (bisogna comunque sottolineare che non si tratta di un concilio ecumenico e che le deliberazioni di un Sinodo hanno limiti territoriali). La riforma luterana ammise che la Bibbia potesse essere letta (e la traduzione di Lutero sta alla base del tedesco moderno) e interpretata da qualunque cristiano. Il concilio di Trento, per contro, nella sessione IV dell’8 aprile 1546, specificò che la Bibbia autentica era la Vulgata latina di san Girolamo, approvata ormai da secoli dalla Chiesa, la quale doveva essere guida “nelle lezioni pubbliche, nelle dispute, nella predicazione e spiegazione -
Naples and the Emergence of the Tenor As Hero in Italian Serious Opera
NAPLES AND THE EMERGENCE OF THE TENOR AS HERO IN ITALIAN SERIOUS OPERA Dave William Ekstrum, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 201 8 APPROVED: Jeffrey Snider, Major Professor Peter Mondelli, Committee Member Stephen Morscheck, Committee Member Molly Fillmore, Interim Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies of the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Ekstrum, Dave William. Naples and the Emergence of the Tenor as Hero in Italian Serious Opera. Doctor of Musical Arts (Performance), May 2018, 72 pp., 1 table, bibliography, 159 titles. The dwindling supply of castrati created a crisis in the opera world in the early 19th century. Castrati had dominated opera seria throughout the 18th century, but by the early 1800s their numbers were in decline. Impresarios and composers explored two voice types as substitutes for the castrato in male leading roles in serious operas: the contralto and the tenor. The study includes data from 242 serious operas that premiered in Italy between 1800 and 1840, noting the casting of the male leading role for each opera. At least 67 roles were created for contraltos as male heroes between 1800 and 1834. More roles were created for tenors in that period (at least 105), but until 1825 there is no clear preference for tenors over contraltos except in Naples. The Neapolitan preference for tenors is most likely due to the influence of Bourbon Kings who sought to bring Enlightenment values to Naples.