DOCSLIB.ORG

May 1994 Cho

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
May 1994 Cho Official Publication of the American Choral Directors Association US ISSN 0009-5028 MAY 1994 CHO 1 f, i .. ~ \ SUCCESSFUL SIGHf • SINGING, Books 1 &2 ACreative, Step by Step Approach By Nancy Telfer Teacher's Edition V77f Vocal Edition V77S Teacher's Edition V82T Vocal Edition V82S Teach sight-singing injust 10 minutes a day! This well-organized method can be used with church or school groups, private students or voice classes. Book I is written for grade four through adult singers while Book 2 reviews skills and progresses into more difficult sight­ singing for advanced high school to university level (or anyone who has completed Book I). The Teacher's Edition contains all material found in the Vocal Edition. plus detailed instructions for each lesson. All teachers will find a wealth of valuable infonnation in Successful Sight • Singing, Books 1 81. 2. SUCCESSFUL SIGHT • SINGING, Books 1 & 2: • motivate success through Milestones of achievement • cover all difficulty levels from beginners and experienced sight-singers needing a review to advanced musicians. • give singers the skills needed to sight-sing by themselves, away from a piano or other singers. • are designed for unison or two-part singing in Book I and two-part or t:hree-part singing in Book 2. • introduce rhythms and intervals sequentially. • systematically incofl)Orate elements of music such as key signatures and changing time signatures and review them regularly. • present a variety of creative activities to introduce and reinforce new musical elements and skills such as how to find entrance cues. Singers leaJnto enjoymaking musicwhile leamingto sight-sing! AlSO AVAILABLE: Exciting Performa"lce S8IecIion serles of choral concert repertoire In aU volclngs, styles and levels. These choral pieces correlate with the Milestones In SUCCESSFUL SIGHT • SINGING, Books 1a 2, For a complete listing of SS.S Performance selections, contact the publisher at: 4380 Ju11and Drlve, Son Diego, CA 92117. Order From Your p Neil A. Kjos Music Company, Publisher • San Diego, California Favorite Music St:.oN! Official Publication of the American Choral Directors Association Volume Thirty-four Number Ten MAY 1994 CHORALJO John Silantien Barton L.Tyner Jr. EDITOR MANAGING EDITOR COLUMNS ARTICLES From the Executive Director 2 The Music of From the President.. 3 Peter Warlock: From the Editor 4 It Weeps So Gaily and Smiles So Sadly 9 Letters to the Editor 4 by Btlrry Smith 1994 Summer Festivals and Workshops 45 Index to the ChortllJOUTrltll, Volume Thirty-four 65 by Scon W. Dorsey The Eclectic Style Compact Disc Reviews 73 Richard J. Bloesch, editor ofJohn Gardner 19 by RobertJones Book Reviews 77 Stephen Town, editor Choral Reviews 81 Conan Castle, editor Repertoire and Standards Quis desiderio sit: Committee Reports 35 A Newly Discovered N ewsbriefs 36 Choral Work ACDA Strategic Plan 39 by Felix Mendelssohn 27 National Convention 41 by Rily Robinson In Memoriam 62 Advertisers Index 88 REHEARSAL BI~EAKS Cover art by David ReIlil. Philip Heselrinc phoro from the Colin Taylor Collection, courtesy of the An Adjudicator Lists Ten Common Vocal Sins 31 Jagger Library, Universiry of Cape Town, Sourh A!~ rica. John Cardncr photo by Joe CoombeI'. by Ptlmeltl S. Wurgler MAY 1994 PAGE 1 -{ L~ .. rX'I""'t._ ./. ,,~" r 1 AFFILIATED ORGAt\/IZATIONS A Special Thanks to the Divisions INDIANA WANT TO THANK all the divisions for putting together outstanding conven­ CHORAL DIRECTORS ASSOCIATION · President - Barbara J. Waite tions this past February and March. Each of the Division Convention Planning 554 South Ruston Avenue I_ . Committees demonstrated outstanding organization and development of excel­ Evansville, Indiana 4771 4 lent concert programs, thus ensuring that all the conventions were truly successful Treasurer - PaulaJ. Alles 1471 Altmeyer Road events for ACDA members. Several of the conventions even saw record attendance. Jasper, Indiana 47546 Each of the choirs performed at their level best (I continue to be amazed at how IOWA much performing groups improve through the years). In addition, the clinicians who CHORAL DIRECTORS ASSOCIATION shared their knowledge at the various interest sessions showed the high level of President - Robert G. Youngquist 83 I South Thirreenrh Avenue expertise we have come to expect from those in our profession. Washington, Iowa 52353 Finally, I wish to extend my appreciation to the exhibitors who set up their booths Secretary/Treasurer - Bruce A. Norris in the exhibit halls. During the years, they have added so much to the organization 420 Maple Street Mondamin, Iowa 51557 through the various services they provide ACDA membership. Their presence at ACDA conventions makes attending these events a complete experience. MINNESOTA CHORAL DIRECTORS ASSOCIATION President - Michael Smith ACDA's Resolve to Advocacy Brainerd High School, 702 South Fifth Street Finally, please read ACDA's resolution statement, printed below, regarding arts Brainerd, Minnesota 5640 I Treasurer - Richard Edstrom advocacy. ACDA encourages all its members to reprint this statement in concert 2305 Winfield Avenue, Norrh programs so that we as choral directors may increase public awareness ofchoral music's Golden Valley, Minnesora 55422 vital role in society. I also encourage you to read the Strategic Plan (page 39 of this MONTANA issue) about ACDA's efforts at stronger advocacy on behalf ofthe choral art. CHORAL DIRECTORS ASSOCIATION President - Norbert Rossi Post Office Box 1884 Gene Brooks Columbia Falls, Montana 59912 Treasurer - John Haughey 2126 Northridge Circle Billings, Montana 59 I02 ACDA Advocacy Resolution NEBRASKA Whereas the human spirit is elevated to a broader understanding itself CHORAL DIRECTORS ASSOCIATION through study and performance in the aesthetic arts; and President - Richard Palmer Dana College Whereas serious cutbacks in funding and support have steadily eroded Music Departmen[ institutions and their programs throughout our country; 2900 College Drive Blaire, Nebraska 68008 Be it resolved that all citizens ofthe United States actively voice their affirmative Treasurer - Clark Roush and collective support for necessary funding at the local, state, and national levels York College York, Nebraska 68467 of education and government, to ensure the survival ofarts programs for this and future generations. OHIO ACDA members are encouraged to print the ACDA Advocacy Resolution on all CHORAL DIRECTORS ASSOCIATION President - James S. Gallagher concert programs. School of Music, Ohio State University 1866 College Road Columbus, Ohio 432 I0 STATEMENT OF MEMBERSHIP TreasOTer - Herb Henke The American Choral Directors Association is a nonprofit professional organization of choral directors Oberlin Conservatoty from schools, colleges, and universities; community, church, and professional choral ensembles; and Oberlin, Ohio 44074 industry and institutional organizations. Choral Journal circulation: 17,000. Annual dues (includes subscription to the Choral Journal): Active $45, Industry $100, Institutional $75, Retired $17.50, and TEXAS Student $15. One-year membership begins on date of dues acceptance. Library annual subscription rates:bU.S. $25; Canada $35; Foreign Surface $38; Foreign Air $75. Single Copy $3; Back Issues $4. CHORAL DIRECTORS ASSOCIATION ACDA 'IS a founding member of the International Federation for Choral Music. President - Debbie Helm ACDA supports and endorses the goals and purposes of Chorus America 60 I Shady Creek Trail In promoting the excellence of choral music throughout the world. Mesquite, Texas 75150 ACDA reserves the right to approve any applications for appearance and to edit all materials proposed for distribution. Secretary/Treasurer - Marsha Carlisle Permission is granted to all ACDA members to reproduce articles from the Choral Journal for noncommercial, educational 1308 Northpoint Drive, South purposes only, ,'1onmembers wishing to reproduce articles may request permission by writing to ACDA San Marcos, Texas 78666 The Choral Journal is supported in part by a grant from the National Endowment for the Arts, a federal agency. WISCONSIN Recognizing its position of leadership, ACDA complies with the copyright laws of the United States. Compliance with these laws is CHORAL DIRECTORS ASSOCIATION a condition of participation by cliniCians and performing groups at ACDA meetings and conventions. President - Gregory R. Carpenter © 1994 by the American Choral Directors Association, 502 SW Thirty-eighth Street, Lawton, Oklahoma 73505. Teiephone: 1604 Cotronwood Drive 405/355-8161. I'JI rights reserved The ChaaJ JoumaJ (US ISSN CXXJ9-5028) is issued monthty, except for June and Juty. Printed in the Waukesha, Wisconsin 53186 United States of America Secretary/Treasurer - William Ross ~ lIppeation to mail at secord-dass postage is paid at Lawton, Oklahoma, and additionaJ maihng office. FDSTMASTER: SE:rd 814 We" Larabee Streer ~ acJdress d1angEs toC'U'alJoumal, Post 0fI'0:J Box 631 0, Lawton, a1ah::Jrra 735C6.ffi10. Port Washingron. Wisconsin 53074 Volume Thirty-four Number Ten PAGE 2 CHORAL JOURNAL FRC)1\1 ACDA 'rilE PR.E SI[)[N"r OFFICERS PRESIDENT Music Festivals: An Artistic Experience or a Pleasure Trip? John Haberlen School of Music, Georgia State University It's Your Choice! University Plaza ,......r·.,rs THE SEASON to be "adjudicated," fa la la Ia la, la la la la! Preparing a Adanta, Georgia 30303 chorus for a music festival has always been an important task of the choral VICE-PRESIDENT ..' teacher. Many schools are required to William B, Harcher School
Load more

Recommended publications
  • Let Me Be Your Guide: 21St Century Choir Music in Flanders
    Let me be your guide: 21st century choir music in Flanders Flanders has a rich tradition of choir music. But what about the 21st century? Meet the composers in this who's who. Alain De Ley Alain De Ley (° 1961) gained his first musical experience as a singer of the Antwerp Cathedral Choir, while he was still behind the school desks in the Sint-Jan Berchmans College in Antwerp. He got a taste for it and a few years later studied flute with Remy De Roeck and piano with Patrick De Hooghe, Freddy Van der Koelen, Hedwig Vanvaerenbergh and Urbain Boodts). In 1979 he continued his studies at the Royal Music Conservatory in Antwerp. Only later did he take private composition lessons with Alain Craens. Alain De Ley prefers to write music for choir and smaller ensembles. As the artistic director of the Flemish Radio Choir, he is familiar with the possibilities and limitations of a singing voice. Since 2003 Alain De Ley is composer in residence for Ensemble Polyfoon that premiered a great number of his compositions and recorded a CD dedicated to his music, conducted by Lieven Deroo He also received various commissions from choirs like Musa Horti and Amarylca, Kalliope and from the Flanders Festival. Alain De Ley’s music is mostly melodic, narrative, descriptive and reflective. Occasionally Alain De Ley combines the classical writing style with pop music. This is how the song Liquid Waltz was created in 2003 for choir, solo voice and pop group, sung by K’s Choice lead singer Sarah Bettens. He also regularly writes music for projects in which various art forms form a whole.
    [Show full text]
  • Treble Voices in Choral Music
    loft is shown by the absence of the con• gregation: Bach and Maria Barbara were Treble Voices In Choral Music: only practicing and church was not even in session! WOMEN, MEN, BOYS, OR CASTRATI? There were certain places where wo• men were allowed to perform reltgious TIMOTHY MOUNT in a "Gloria" and "Credo" by Guillaume music: these were the convents, cloisters, Legrant in 1426. Giant choir books, large and religious schools for girls. Nuns were 2147 South Mallul, #5 enough for an entire chorus to see, were permitted to sing choral music (obvious• Anaheim, California 92802 first made in Italy in the middle and the ly, for high voices only) among them• second half of the 15th century. In selves and even for invited audiences. England, choral music began about 1430 This practice was established in the with the English polyphonic carol. Middle Ages when the music was limited Born in Princeton, New Jersey, Timo• to plainsong. Later, however, polyphonic thy Mount recently received his MA in Polyphonic choral music took its works were also performed. __ On his musi• choral conducting at California State cue from and developed out of the cal tour of Italy in 1770 Burney describes University, Fullerton, where he was a stu• Gregorian unison chorus; this ex• several conservatorios or music schools dent of Howard Swan. Undergraduate plains why the first choral music in Venice for girls. These schools must work was at the University of Michigan. occurs in the church and why secular not be confused with the vocational con• compositions are slow in taking up He has sung professionally with the opera servatories of today.
    [Show full text]
  • 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
    [Show full text]
  • The Performer As Classical Voice Teacher
    THE PERFORMER AS CLASSICAL VOICE TEACHER: EVALUATING THE ROLE OF THE PERFORMER-TEACHER AND ITS IMPACT ON THE STUDENT LEARNING EXPERIENCE MARGARET SCHINDLER S368294 QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY in fulfilment of the requirement of the degree of Doctor of Musical Arts TABLE OF CONTENTS Table of Contents ..................................................................................................................................... i ABSTRACT ....................................................................................................................................... iii ACKNOWLEDGEMENTS .................................................................................................................. iv BOOK CHAPTERS AND PRESENTATIONS ......................................................................................... v STATEMENT OF AUTHENTICITY ...................................................................................................... vi Chapter One: Setting the Scene ................................................................................................ 1 1.1 Introduction .............................................................................................................................. 1 1.2 An auto-ethnography ................................................................................................................ 3 1.3 Rationale for this thesis .......................................................................................................... 10 Chapter Two:
    [Show full text]
  • The Status and the Problem of Western Vocal Music Teaching in Myanmar
    Journal of Advanced Research in Social Sciences and Humanities Volume 1, Issue 1 (9-17) DOI: https://dx.doi.org/10.26500/JARSSH-01-2016-0102 The status and the problem of Western vocal music teaching in Myanmar MAI NAY CHI HNIN PWINT OO∗ Department of Music Education, College of Music, Mahidol University, Salaya, Thailand Abstract Aim: The aim of this study is to identify and recommend solutions to the problems not only in teaching but also in learning Western classical vocal music. The research will also consider the benefits of solving these problems. The primary objective of this study was to infer the status and the problems of Western vocal music teaching in Myanmar and to explore the appropriate methods for the solution of the problems in the environment of the government school system. Method: This research used qualitative methods, formal and informal interviews and observation. There were six vocal music teachers from a variety of Music Centers in Yangon, one vocal music teacher from The Myanmar Institute of Theology (Liberal Arts program), Music Department in Myanmar and one vocal instructor from an independent unit who are currently working in that area with at least 2 years’ experience in western vocal teaching as full-time and part-time teachers. Findings: The researcher found through the interviews that most of the vocal music teachers did not study in voice much and most of them did not have the opportunity to study music since they were young. Most of them taught voice to students based on only their experience and what they learnt from experienced teachers.
    [Show full text]
  • Unit 7 Romantic Era Notes.Pdf
    The Romantic Era 1820-1900 1 Historical Themes Science Nationalism Art 2 Science Increased role of science in defining how people saw life Charles Darwin-The Origin of the Species Freud 3 Nationalism Rise of European nationalism Napoleonic ideas created patriotic fervor Many revolutions and attempts at revolutions. Many areas of Europe (especially Italy and Central Europe) struggled to free themselves from foreign control 4 Art Art came to be appreciated for its aesthetic worth Program-music that serves an extra-musical purpose Absolute-music for the sake and beauty of the music itself 5 Musical Context Increased interest in nature and the supernatural The natural world was considered a source of mysterious powers. Romantic composers gravitated toward supernatural texts and stories 6 Listening #1 Berlioz: Symphonie Fantastique (4th mvmt) Pg 323-325 CD 5/30 https://www.youtube.com/watch?v=QwCuFaq2L3U 7 The Rise of Program Music Music began to be used to tell stories, or to imply meaning beyond the purely musical. Composers found ways to make their musical ideas represent people, things, and dramatic situations as well as emotional states and even philosophical ideas. 8 Art Forms Close relationship Literature among all the art Shakespeare forms Poe Bronte Composers drew Drama inspiration from other Schiller fine arts Hugo Art Goya Constable Delacroix 9 Nationalism and Exoticism Composers used music as a tool for highlighting national identity. Instrumental composers (such as Bedrich Smetana) made reference to folk music and national images Operatic composers (such as Giuseppe Verdi) set stories with strong patriotic undercurrents. Composers took an interest in the music of various ethnic groups and incorporated it into their own music.
    [Show full text]
  • Headliners 2016 Central Division Conference Special Concerts 2016
    2016 Central Division Conference HHeadlinerseadliners Voces8 Ola Gjeilo is the conductor of Voces8. His photo and bio are on page 49. Voces8 is a headliner at this conference. Their photo and bio are on page 49. 2016 Central Division Conference SSpecialpecial CConcertsoncerts Chicago Children’s Choir Medal, which recognizes achievement through research in authorship, in invention, for discovery, for unusual public service or for anything deemed of great benefi t to humanity. In 2012, she received the Roman Nomitch Fel- lowship to attend the Harvard Business School’s Strategic Perspectives in Nonprofi t Management, a program that provides opportunities for senior executives to examine their missions and develop strategies for the new global economy. Lee received a bachelor’s in piano performance from DePaul University and a master’s in conducting from Northwestern University. Founded in 1956 during the height of the Civil Rights Judy Hanson holds a bachelor’s from Movement, Chicago Children’s Choir (CCC) is a non- the University of Illinois and a master’s profi t organization committed to peacefully uniting a from Northwestern University. As direc- diverse world through education, musical expression, and tor of choral programs, Hanson over- excellence. Serving more than 4,000 children annually, sees and directs the coordination and CCC empowers singers to bridge cultural divides and presentation of all Chicago Children’s become ambassadors of peace in their communities. With Choir programs and guides conduc- programs in more than seventy Chicago schools, ten after- tors in serving more than 4,000 children each year. She school neighborhood programs, an ensemble for boys with serves as the associate director and choreographer for the changing voices, and the internationally acclaimed Voice world-renowned Voice of Chicago and the conductor of of Chicago, the diversity of CCC refl ects the cultural DiMension, a choir for young men with changing voices.
    [Show full text]
  • Vocal Pedagogy As It Relates to Choral Ensembles
    Vocal Pedagogy as It Relates to Choral Ensembles Compiled by Dalan M. Guthrie March 2019 0 Introduction Vocal pedagogy is a topic that has been well-defined for centuries. There are comprehensive books, treatises, dissertations and opinions on every facet of technique as it relates to healthy production of voice in the bel-canto style. For most of its existence as a topic, it has been almost completely limited to the individual study of voice as it pertains to the soloist. Vocal pedagogy as it pertains to choral ensembles is a relatively recent topic of study that has only started to be defined in the last 50 or so years. It is the aim of this bibliography to comprehensively represent the corpus of research of vocal pedagogy as it relates to the choral ensemble. This includes helping to define the role of the choral director, voice teacher, and singer in their responsibility in the education of vocal performance in both solo and choral settings. The nature of this research is pedagogical. Because of this, it is difficult to scientifically define a “correct” methodology of teaching voice. However, the teaching of voice has been evolving for centuries and continues to evolve. As we learn more about vocal science, we can apply them to old models and find new techniques to implement them in simple ways. The techniques change and will always change, but the underlying principles are being reinforced as necessary by authority figures on the subject and by those who practice voice. The stereotype that the comparison of solo and choral singing invariably brings is that of the director and the voice teacher continually at odds with one another over the approach to the vocal education of their students at the secondary and collegiate levels.
    [Show full text]
  • Vocal Pedagogy
    University of Montana ScholarWorks at University of Montana Syllabi Course Syllabi Fall 9-1-2005 MUS 441.01: Vocal Pedagogy Stephen Kalm University of Montana - Missoula, [email protected] Follow this and additional works at: https://scholarworks.umt.edu/syllabi Let us know how access to this document benefits ou.y Recommended Citation Kalm, Stephen, "MUS 441.01: Vocal Pedagogy" (2005). Syllabi. 10571. https://scholarworks.umt.edu/syllabi/10571 This Syllabus is brought to you for free and open access by the Course Syllabi at ScholarWorks at University of Montana. It has been accepted for inclusion in Syllabi by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Syllabus Fall Semester 2005 MUS 441- Vocal Pedagogy Dr. Stephen Kalm Room 205 The purpose of this course is to gain the knowledge and strategies required to teach singing. We will seek these skills through lecture, observation and application. COURSE OBJECTIVES: 1. Acquisition of the basic knowledge of the physical structure and physiology of the areas of the human body principally active in the production of the singing voice. 2. Application of the knowledge of the physical structure and physiology of the body to the training of the singing voice, including the diagnosis and treatment of vocal problems. 3. Application of vocal exercises, imagery, and other discussed or observed strategies while working with your own private student. Required Text: Basics of Vocal Pedagogy by Clifton Ware is available at the UC Bookstore. - There will be additional required readings which I will hand out or post on electronic reserve (ERES).
    [Show full text]
  • I Sing Because I'm Free‖: Developing a Systematic Vocal Pedagogy For
    ―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer 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 Crystal Yvonne Sellers Graduate Program in Music The Ohio State University 2009 Dissertation Committee: Loretta Robinson, Advisor Karen Peeler C. Patrick Woliver Copyright by Crystal Yvonne Sellers 2009 Abstract ―I Sing Because I‘m Free‖: Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer With roots in the early songs and Spirituals of the African American slave, and influenced by American Jazz and Blues, Gospel music holds a significant place in the music history of the United States. Whether as a choral or solo composition, Gospel music is accompanied song, and its rhythms, textures, and vocal styles have become infused into most of today‘s popular music, as well as in much of the music of the evangelical Christian church. For well over a century voice teachers and voice scientists have studied thoroughly the Classical singing voice. The past fifty years have seen an explosion of research aimed at understanding Classical singing vocal function, ways of building efficient and flexible Classical singing voices, and maintaining vocal health care; more recently these studies have been extended to Pop and Musical Theater voices. Surprisingly, to date almost no studies have been done on the voice of the Gospel singer. Despite its growth in popularity, a thorough exploration of the vocal requirements of singing Gospel, developed through years of unique tradition and by hundreds of noted Gospel artists, is virtually non-existent.
    [Show full text]
  • 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.
    [Show full text]
  • The Low Countries. Jaargang 11
    The Low Countries. Jaargang 11 bron The Low Countries. Jaargang 11. Stichting Ons Erfdeel, Rekkem 2003 Zie voor verantwoording: http://www.dbnl.org/tekst/_low001200301_01/colofon.php © 2011 dbnl i.s.m. 10 Always the Same H2O Queen Wilhelmina of the Netherlands hovers above the water, with a little help from her subjects, during the floods in Gelderland, 1926. Photo courtesy of Spaarnestad Fotoarchief. Luigem (West Flanders), 28 September 1918. Photo by Antony / © SOFAM Belgium 2003. The Low Countries. Jaargang 11 11 Foreword ριστον μν δωρ - Water is best. (Pindar) Water. There's too much of it, or too little. It's too salty, or too sweet. It wells up from the ground, carves itself a way through the land, and then it's called a river or a stream. It descends from the heavens in a variety of forms - as dew or hail, to mention just the extremes. And then, of course, there is the all-encompassing water which we call the sea, and which reminds us of the beginning of all things. The English once labelled the Netherlands across the North Sea ‘this indigested vomit of the sea’. But the Dutch went to work on that vomit, systematically and stubbornly: ‘... their tireless hands manufactured this land, / drained it and trained it and planed it and planned’ (James Brockway). As God's subcontractors they gradually became experts in living apart together. Look carefully at the first photo. The water has struck again. We're talking 1926. Gelderland. The small, stocky woman visiting the stricken province is Queen Wilhelmina. Without turning a hair she allows herself to be carried over the waters.
    [Show full text]