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The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’S Opera and Concert Arias Joshua M
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 10-3-2014 The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua M. May University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation May, Joshua M., "The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias" (2014). Doctoral Dissertations. 580. https://opencommons.uconn.edu/dissertations/580 ABSTRACT The Rise of the Tenor Voice in the Late Eighteenth Century: Mozart’s Opera and Concert Arias Joshua Michael May University of Connecticut, 2014 W. A. Mozart’s opera and concert arias for tenor are among the first music written specifically for this voice type as it is understood today, and they form an essential pillar of the pedagogy and repertoire for the modern tenor voice. Yet while the opera arias have received a great deal of attention from scholars of the vocal literature, the concert arias have been comparatively overlooked; they are neglected also in relation to their counterparts for soprano, about which a great deal has been written. There has been some pedagogical discussion of the tenor concert arias in relation to the correction of vocal faults, but otherwise they have received little scrutiny. This is surprising, not least because in most cases Mozart’s concert arias were composed for singers with whom he also worked in the opera house, and Mozart always paid close attention to the particular capabilities of the musicians for whom he wrote: these arias offer us unusually intimate insights into how a first-rank composer explored and shaped the potential of the newly-emerging voice type of the modern tenor voice. -
AP Music Theory Course Description Audio Files ”
MusIc Theory Course Description e ffective Fall 2 0 1 2 AP Course Descriptions are updated regularly. Please visit AP Central® (apcentral.collegeboard.org) to determine whether a more recent Course Description PDF is available. The College Board The College Board is a mission-driven not-for-profit organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 5,900 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success — including the SAT® and the Advanced Placement Program®. The organization also serves the education community through research and advocacy on behalf of students, educators, and schools. For further information, visit www.collegeboard.org. AP Equity and Access Policy The College Board strongly encourages educators to make equitable access a guiding principle for their AP programs by giving all willing and academically prepared students the opportunity to participate in AP. We encourage the elimination of barriers that restrict access to AP for students from ethnic, racial, and socioeconomic groups that have been traditionally underserved. Schools should make every effort to ensure their AP classes reflect the diversity of their student population. The College Board also believes that all students should have access to academically challenging course work before they enroll in AP classes, which can prepare them for AP success. -
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon. -
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. -
02-11-Nonchordtones.Pdf
LearnMusicTheory.net 2.11 Nonchord Tones Nonchord tones = notes that aren't part of the chord. Nonchord tones always embellish/decorate chord tones. Keep in mind that many authors use the term "consonance" for a chord tone, and "dissonance" for a nonchord tone. suspension (S) = "delayed step down" passing tone (PT) neighbor tone (NT) 1. Starts as chord tone, then becomes... PTs are approached and NTs are approached and 2. Nonchord tone metrically accented, left by step in the left by step in different 3. ...then resolves down by step same direction. directions. Common types: 7-6, 4-3, 9-8, 2-3 Preparation Suspension Resolution C:IV6 I escape tone (esc.) retardation (R) -"step-leap" 1. Starts as chord tone, then becomes... appoggiatura (app.) -"leap-step" -to escape, you "step to window, 2. Nonchord tone metrically accented leap out" 3. ...then resolves up by step -may be metrically accented or unaccented -may be metrically accented or unaccented "DELAYED STEP UP" -sometimes called "incomplete neighbor tone" -also sometimes called "incomplete Preparation Retardation Resolution neighbor tone" vii°6 I anticipation (ant.) cambiata (c) -- LESS COMMON -approached by leap or step -also called "changing tone" from either direction -connect 2 consonances a 3rd apart -unaccented (i.e. C-A in this example) neighbor group (n gr.) -must be a chord tone in the -only the 2nd note of the pattern is -upper and lower neighbor together next harmony a dissonance -can also be lower neighbor -may or may not be tied into -specific pattern shown below followed by upper neighbor the resolution note -common in 15th and 16th centuries vii°6 I pedal point or pedal tone (bottom C in left hand) from Bach, WTC, Fugue I in C, m. -
Common Opera Terminology
Common Opera Terminology acoustics The science of sound; qualities which determine hearing facilities in an auditorium, concert hall, opera house, theater, etc. act A section of the opera, play, etc. usually followed by an intermission. arias and recitative Solos sung by one person only. Recitative, are sung words and phrases that are used to propel the action of the story and are meant to convey conversations. Melodies are often simple or fast to resemble speaking. The aria is like a normal song with more recognizable structure and melody. Arias, unlike recitative, are a stop in the action, where the character usually reflects upon what has happened. When two people are singing, it becomes a duet. When three people sing a trio, four people a quartet. backstage The area of the stage not visible to the audience, usually where the dressing rooms are located. bel canto Although Italian for “beautiful song,” the term is usually applied to the school of singing prevalent in the eighteenth and nineteenth centuries (Baroque and Romantic) with emphasis on vocal purity, control, and dexterity blocking Directions given to actors for on-stage movements and actions bravo, brava, bravi An acknowledgement of a good performance shouted during moments of applause (the ending is determined by the gender and the number of performers). cadenza An elaborate passage near the end of an aria, which shows off the singer’s vocal ability. chorus master Person who prepares the chorus musically (which includes rehearsing and directing them). coloratura A voice that can sing music with many rapid notes, or the music written for such a voice with elaborate ornamentation using fast notes and trills. -
Using Bel Canto Pedagogical Principles to Inform Vocal Exercises Repertoire Choices for Beginning University Singers by Steven M
Using Bel Canto Pedagogical Principles to Inform Vocal Exercises Repertoire Choices for Beginning University Singers by Steven M. Groth B.M. University of Wisconsin, 2013 M.M. University of Missouri, 2017 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Doctor of Musical Arts College of Music 2020 1 2 3 Abstract The purpose of this document is to identify and explain the key ideals of bel canto singing and provide reasoned suggestions of exercises, vocalises, and repertoire choices that are readily available both to teachers and students. I provide a critical evaluation of the fundamental tenets of classic bel canto pedagogues, Manuel Garcia, Mathilde Marchesi, and Julius Stockhausen. I then offer suggested exercises to develop breath, tone, and legato, all based classic bel canto principles and more recent insights of voice science and physiology. Finally, I will explore and perform a brief survey into the vast expanse of Italian repertoire that fits more congruently with the concepts found in bel canto singing technique in order to equip teachers with the best materials for more rapid student achievement and success in legato singing. For each of these pieces, I will provide the text and a brief analysis of the characteristics that make each piece well-suited for beginning university students. 4 Acknowledgements Ever since my first vocal pedagogy class in my undergraduate degree at the University of Wisconsin-Madison, I have been interested in how vocal pedagogy can best be applied to repertoire choices in order to maximize students’ achievement in the studio environment. -
Machine Learning of Symbolic Compositional Rules with Genetic Programming: Dissonance Treatment in Palestrina
A peer-reviewed version of this preprint was published in PeerJ on 16 December 2019. View the peer-reviewed version (peerj.com/articles/cs-244), which is the preferred citable publication unless you specifically need to cite this preprint. Anders T, Inden B. 2019. Machine learning of symbolic compositional rules with genetic programming: dissonance treatment in Palestrina. PeerJ Computer Science 5:e244 https://doi.org/10.7717/peerj-cs.244 Machine learning of symbolic compositional rules with genetic programming: Dissonance treatment in Palestrina Torsten Anders 1 , Benjamin Inden Corresp. 2 1 School of Media Arts and Performance, University of Bedfordshire, Luton, Bedfordshire, United Kingdom 2 Department of Computer Science and Technology, Nottingham Trent University Corresponding Author: Benjamin Inden Email address: [email protected] We describe a method to automatically extract symbolic compositional rules from music corpora that can be combined with each other and manually programmed rules for algorithmic composition, and some preliminary results of applying that method. As machine learning technique we chose genetic programming, because it is capable of learning formula consisting of both logic and numeric relations. Genetic programming was never used for this purpose to our knowledge. We therefore investigate a well understood case in this pilot study: the dissonance treatment in Palestrina’s music. We label dissonances with a custom algorithm, automatically cluster melodic fragments with labelled dissonances into different dissonance categories (passing tone, suspension etc.) with the DBSCAN algorithm, and then learn rules describing the dissonance treatment of each category with genetic programming. As positive examples we use dissonances from a given category. -
The Mezzo-Soprano Onstage and Offstage: a Cultural History of the Voice-Type, Singers and Roles in the French Third Republic (1870–1918)
The mezzo-soprano onstage and offstage: a cultural history of the voice-type, singers and roles in the French Third Republic (1870–1918) Emma Higgins Dissertation submitted to Maynooth University in fulfilment for the Degree of Doctor of Philosophy Maynooth University Music Department October 2015 Head of Department: Professor Christopher Morris Supervisor: Dr Laura Watson 1 TABLE OF CONTENTS Page number SUMMARY 3 ACKNOWLEDGEMENTS 4 LIST OF FIGURES 5 LIST OF TABLES 5 INTRODUCTION 6 CHAPTER ONE: THE MEZZO-SOPRANO AS A THIRD- 19 REPUBLIC PROFESSIONAL MUSICIAN 1.1: Techniques and training 19 1.2: Professional life in the Opéra and the Opéra-Comique 59 CHAPTER TWO: THE MEZZO-SOPRANO ROLE AND ITS 99 RELATIONSHIP WITH THIRD-REPUBLIC SOCIETY 2.1: Bizet’s Carmen and Third-Republic mores 102 2.2: Saint-Saëns’ Samson et Dalila, exoticism, Catholicism and patriotism 132 2.3: Massenet’s Werther, infidelity and maternity 160 CHAPTER THREE: THE MEZZO-SOPRANO AS MUSE 188 3.1: Introduction: the muse/musician concept 188 3.2: Célestine Galli-Marié and Georges Bizet 194 3.3: Marie Delna and Benjamin Godard 221 3.3.1: La Vivandière’s conception and premieres: 1893–95 221 3.3.2: La Vivandière in peace and war: 1895–2013 240 3.4: Lucy Arbell and Jules Massenet 252 3.4.1: Arbell the self-constructed Muse 252 3.4.2: Le procès de Mlle Lucy Arbell – the fight for Cléopâtre and Amadis 268 CONCLUSION 280 BIBLIOGRAPHY 287 APPENDICES 305 2 SUMMARY This dissertation discusses the mezzo-soprano singer and her repertoire in the Parisian Opéra and Opéra-Comique companies between 1870 and 1918. -
The Choral Director As a Voice Teacher
The Choral Director as the Voice Teacher Dr. Derrick Fox Director of Choral Activities - University of Nebraska at Omaha [email protected] The benefits of having students in your ensembles participate in voice lessons can be invaluable. The reality is that access to these lessons is not always available or affordable. This participatory session will introduce vocal techniques, literature ideas and rehearsal tips that will strengthen your singers’ musicality and promote healthy vocalism throughout your rehearsals. This session is for the “do it all” teacher/conductor searching for more strategies to develop their choral singers’ personal vocal development. Focusing Your RehEARsal A. Before Rehearsal 1. Listen to several recordings to gather an aesthetic appreciation of the various interpretations of the piece. 2. Sing through each part to gather familiarity of the challenges your singer might encounter. Use whatever tool you may ask your choir to use. (solfege, numbers, count singing) a. Take note of: 1. Range 2. Tessitura 3. Passaggio 4. Difficult intervals 3. Re-listen to a single recording and focus your EAR to one voice part. Do this for each vocal part. 4. Redo step 3 but close your eyes and try to hear one voice part at a time. 5. Recite the text of the piece (out of rhythm). a. Take note of: 1. Text stress 2. Vowels (diphthongs, modification, unification etc…) 3. Consonants (combination, ‘wh vs w’, pronunciation of ‘the’) 6. Recite the text of each voice part in rhythm a. Take note of 1. Difficult rhythms 2. Meter changes 3. Where the setting doesn’t match the spoken text stress 4. -
Third Species Counterpoint (4:1) Heath: Counterpoint (Music 221) Rules and Guidelines
Third Species Counterpoint (4:1) Heath: Counterpoint (Music 221) Rules and Guidelines Four quarter notes of counterpoint are written for each whole note: Beat 1 (Strong); Beats 2 and 4 (weak); Beat 3 (weaker than beat 1, more accented than beats 2 and 4). • Strong beats should not outline a dissonant interval. No more than 3 consecutive measures should begin with the same interval. No unisons should be used on strong beats (other than at the beginning and end). Consecutive downbeats may be 5ths and 8ves, but no more than two in a row of the same kind should be used. • The interval on the first quarter note is always consonant and the interval on the third is often also consonant, while the 2nd and 4th intervals may be dissonant. The third may be dissonant if the other 3 intervals are consonant. • P5s and P8s that occur against two different notes of the cantus firmus should be separated by at least two quarter notes. P5s or P8s with only one intervening quarter note occurring within a measure (i.e., over the same cantus firmus note) are fine. Avoid having more than two consecutive strong-beat 5ths or 8ves. • Leaps must be treated very carefully in 3rd species. Avoid too many consecutive leaps (especially in the same direction). Avoid leaps into strong beats (downbeats especially). Dissonances are allowed on all beats except for beat 1, ONLY if they belong to one of the following gestures: 1. Passing Tone: a dissonance that fills the space between a third by direct, stepwise motion. -
Unraveling the Discussion of Vocal Onset
UNRAVELING THE DISCUSSION OF VOCAL ONSET: STRATEGIES FOR THE CULTIVATION OF BALANCED ONSET BASED UPON HISTORICAL AND CURRENT VOCAL PEDAGOGICAL TEACHINGS. by ABBIGAIL KATHARINE COTÉ ii A LECTURE-DOCUMENT Presented to the School of Music and Dance of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Musical Arts June 2017 iii “Unraveling the Discussion of Vocal Onset: Strategies for the Cultivation of Balanced Onset Based Upon Historical and Current Vocal Pedagogical Teachings,” a lecture- document prepared by Abbigail Katharine Coté in partial fulfillment of the requirements for the Doctor of Musical Arts degree in the School of Music and Dance. This lecture- document has been approved and accepted by: Dr. Ann Tedards, Chair of the Examining Committee Date Committee in Charge: Dr. Ann Tedards, Chair Professor Milagro Vargas Dr. Marian Smith Accepted by: Leslie Straka, D.M.A. Director of Graduate Studies, School of Music and Dance iv © 2017 Abbigail Katharine Coté v CURRICULUM VITAE NAME OF AUTHOR: Abbigail Coté PLACE OF BIRTH: Walnut Creek, Ca DATE OF BIRTH: October 5, 1981 GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon Florida State University University of Montana DEGREES AWARDED: D.M.A in Vocal Performance, 2017, University of Oregon M.M. in Opera Production, 2012, Florida State University B.M. in Vocal Performance, 2004, University of Montana AREAS OF SPECIAL INTEREST: Vocal Performance Vocal Pedagogy Opera Direction and Production PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, University of Oregon, 2014-2017 Class Voice, Studio Voice, Lyric Diction, Introduction to Vocal Pedagogy Assistant Professor, Umpqua Community College, 2016-2017 Aural Skills, Studio Voice, and Studio Piano Executive Director, West Edge Opera, 2013 vii ACKNOWLEDGMENTS I wish to express sincere appreciation to my advisor, Dr.