DOCSLIB.ORG

September 1975

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

US ISSN 0009-5028 THE SEPTEMBER 1975 Official Publication of the AMERICAN CHORAL DIRECTORS ASSOCIATION RI HMON MU IC P ES , INC. ROBERT THYGERSON DAVID N. DAVENPORT JACK KUNZ LEONARD VAN CAMP EUGENE BUTLER KENT A. NEWBURY WALTER EHRET JOHN A. RICHARDSON RUTH ARTMAN RICHARD OLIVER ~ ~..BB~I:.0LD A TINY BABE SATB Butler 35c ~HEPHERD, WHERE'D YOU LEAVE YOUR LAMB? - SATB ......•......... Thygerson 35c CHRISTMAS FOR YOU AND ME - SSA ............•.......•............... Kunz 35c JESUS SLEEPIN' SO PEACEFUL SATB .....• , .••.... , ......••••...••..... Ehret 35c A CHRISTMAS GREETING - SATB ........•...••....••••.............. Davenport 30c SING OUT YE CHRISTIANS - SATB ......•.............•.•............... Ehret 35c SING OUT YE CHRISTIANS SSA. .....•....•........••............... .. Ehret 35c COME HEAR THE WONDERFUL TIDINGS -- SAB ......••................ Thygerson 40c MARY'S LULLABY - SATB ..................•.••.................... Davenport 35c o REJOICE YE CHRISTIANS LOUDLY - SAB ....................•..... Richardson 30c BUT IT AIN'T EASY SATB. ................•.......................... .. Kunz 35c BUT IT AIN'T EASY - SSA ........................••••.................... Kunz 35c BUT IT AIN'T EASY - S(S)AB Kunz 35c ALL THINGS ARE POSSIBLE - SATB ..•...................•.••••...... Thygerson 35c WITH A UTILE BIT OF HELP - SATB •...........•.••.......•.......... Thygerson 35c SILENT THE FOREST SATB ...•....•.....•....••••••..•....••.....•.••... Butler 35c VOICES IN FESTIVAL SSAATTBB ............•.••••...... , ...••...... Davenport 35c ON THE LONG WAY LEFT TO GO SATB Kunz 40c SOUNDS OF HOPE - SATB ......•••.........................••......•. Artman 40c OPEN UP DOOR TO TOMORROW - SATB ....•........................... Oliver 35c LIKE A RIVER Thygerson 40c UP Artman 40c AT LAST THE KINGDOM HAS COME - SATB .......•..••......•....... Davenport 35c ~ETlMES I FEEL LIKE A MOTHERLESS CHILD SAB .•.•..........••.. Thygerson 35c AIN'T A THAT GOOD NEWS - SATB .........•....••..................... Ehret 35c AIN'T A THAT GOOD NEWS - SSA •.........•........................... Ehret 35c GOIN' TO SING - SA •.......••..•....•....•.•....•.................... Ehret 35c GOIN' TO SING SAB. .....••..•.........•••...•....•.............. .. Ehret 35c KUM BAH YAH - SAB ..•.............................•............. Newbury 35c o COME SING UNTO THE LORD SATB .. , .......•.......•••......... Van Camp 35c o PERFECT LIFE OF LOVE - (Two Equal Voices) ....••............•.......•. Butler 35c o GOD! THY BOUNTY REACHETH WIDE SATB ....•.........•..•••... Richardson 30c o LORD CORRECT ME - SAB ..•.....................•..•...••...... Richardson 30c (Please Write For Fifteen Reference Copies Only) RICHMOND MUSIC PRESS, INC. P.o. BOX 465 P.P. STA. RICHMOND, INDIANA 47374 member not recelvmg the Journal, ask and Jane S. Hardester, past presi.dent d)1J.Om them to contact this office. We are here Western Division, as Program Chairper­ the ------, to serve you if you will keep us in­ son. The Convention will be held March formed of your proper address at all 3-5, 1977 at the Fairmont Hotel at Dallas. times. Executive Secreta's JOURNAL SUBSCRIPTIONS ACDA BICENTENNIAL Due to constantly rising costs of pUb­ '-- .2>edh A second insert on the ACDA Bicen­ lication and mailing, new rates for sub­ tennial Celebration is contained in this scriptions to The Choral Journal will CONTINUING MEMBERSHIP issue. In forwarding your declaration of be announced during this year. Subscrip­ interest to Harold A. Decker's office, be tions are limited to Institutions and Public This year brings ACDA's move into sure to include your return address, so Libraries only, since the Journal is pUb­ Continuing Membership which entitles they may keep in touch with you. Appli­ lished for ACDA members exclusively. each new and renewing member a full cations for housing will appear in several Ample time will be allowed for Subscrip­ year's membership in the organization, issues of The Choral Journal beginning tion Agencies to comply with the new regardless of date of joining. For this in January to give you ample time to rates and all existing subscriptions will office it has meant the task of adding plan participation in the Celebration at be completed prior to changing rates. necessary information to each of more the National Music Camp at Interlochen, than 6,000 cards so that in coming months Michigan. A continuous series of articles -***- your Dues Notice will reach you on newly on various aspects of the Celebration will Your Executive Secretary had the pri­ designed forms. The two letters in the be featured in this year's Journals. vilege this summer of personally present­ code above your name designate the BOYS AND CHILDREN'S CHOIRS ing invitations to the ACDA Bicentennial month' your membership expires: JA, FB, Celebration to outstanding Choral Direc­ MR, AP, MY, JU, JL, AU, SP, OC, NV At the summer meeting of the ACDA tors in France, Germany, Austria and and DE. Dues notices will be mailed at Board of Directors at Dallas it was de­ England during his European trip. Re­ least 6 weeks prior to expiration date to cided to eliminate the categories of Ele­ hearsals and performances heard included allow you time to renew your membership mentary and Youth Choirs and replace the Gaechinger Kantorei, the Figuralchor and not miss any of The Choral Journals them with a committee titled Boys and of the Gedaechniskirche, with some 100 which will cease the month following Children's Choirs. Jerome L. Wright, additional singers, rehearse and perform your epxiration date. Since back Journals President of the Boys and Children's a Bach Cantata, and the Hymnuschor­ will not be available, be sure to forward Choir Directors Association, was desig­ knaben all of Stuttgart, the ACDA-CIR your payment in time to assure continu­ nated as chairman of the committee to Symposium choir perform the Beethoven ation of the Journal. Journals for new serve with Ken Howard, Waco, Texas, Missa Solemnis and the Mozart Mass K and renewing members received after the and George Bragg, Fort Worth, Texas, 115; the Vienna Philharmonic, the monks expiration date will begin with the month heads of the former committees Founder at Solesmes Monastery in France, and following payment of dues. and Director of the Northwest Boys the London Bach Choir with Paul Stei­ Should you have any questions, be sure Choir, Wright's address is 15420 195th nitz. to contact this office and above all be Street NE, Woodinville, Washington 98072. sure to notify us immediately of any 1977 CONVENTION CHAIRPERSONS change of address. Since the Journal is President Mathis has announced the ap­ Be sure to notify us mailed as second class mail, it cannot pointment of H. Royce Saltzman, North­ if you have any be forwarded until we have your correct western Division president, as the Na­ new address. Should you know of any tional Convention Chairperson for 1977 CHANGE OF ADDRESS , I Waco, Texas September 4 and 5, 1975 Chicago, II. September 18 and 19, 1975 Richmond, Va. September 25 and 26, 1975 Birmingham, AI. October 2 and 3, 1975 FEATURING: Performances of two new major choral works Two reading sessions covering music for all ages Appearances by noted composers including: Kurt Kaiser (Oir. of Music and Vice President, Word, Inc.) RALPH CARMICHAEL (Presi­ dent, Lexicon Music, Inc.) CHARLES F. BROWN (Oir. of Music Publications, Word Music, Inc.) and others yet to be announced Registration fee includes music packet, admissions and lunch. For more information, write to Noni Wells, Music Promotion Manager, Word, Inc., Box 1790, Waco, Tx. 76703. SEPTEMBER 1975 .. "I say almost because I think their Choirs and their directors attending the VIENNA SYMPOSIUM HAS penetrating power would have been a Symposium were from the University of little too modest in a regular concert hall. Delaware, Newark, Peter Jo McCarthy, SUCCESSfUL CONCLUSION But all desires were satisfied in the Fest­ director; University of South Alabama, saal of the Old University where Joseph Mobile, Malcolm Griffin, director; West­ Commenting on the Beethoven Missa Haydn listened in 1808 for the last time minster College, Salt Lake City, Utah, Solemnis, presented June 28 at the con­ to his "Schoepfung" and, after a self­ David H. Williams, director; Bethel Col­ clusion of the ACDA-CIR Symposium, conscious beginning, the choir became an lege, Newton, Kansas, David H. Suder­ the Presse critic wrote, "I am glad to assured performing group. man, director; Agnes Scott College, De­ alter my report concerning the Festwo­ "We have to congratulate Guenther catur, Georgia, Theodore Mothews, di­ chen (Festival week) performance of Theuring as the leader of the Symposium, rector; and the San Mateo Chorale, San Beethoven's Missa. It does not concern who offered once again a brilliant ac­ Mateo, California, Galen Marshall, direc­ the rarity of the presentation - two per­ complishment. And once again we had to tor. formances within one week sneer at sta­ admire the USA because of their College Several teachers attending the Symposi­ tistics - but the ability to perform the choirs, the extension, density, and quality um conducted a select choir in a Mozart Missa, which I thought could only be of this beautiful kind of music making Mass in C (K 115) at the Eisenstadt Ca­ presented by a professional choir. The as well as the. _motivation and energy of thedral on Sunday, June 29, which was six combined College and University these young people. (It could only occur followed by a visit to the Esterhazy Pa­ choirs mastered the enormous
Recommended publications
  • Male Zwischenfächer Voices and the Baritenor Conundrum Thaddaeus Bourne University of Connecticut - Storrs, Thaddaeusbourne@Gmail.Com

    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
  • And He Shall Reign Forever! a Sermon Based on Daniel 7:13,14

    And He Shall Reign Forever! a Sermon Based on Daniel 7:13,14

    And He Shall Reign Forever! A sermon based on Daniel 7:13,14 Grace and peace to you from him who is, and who was, and who is to come…from Jesus Christ, who is the faithful witness, the firstborn from the dead, and the ruler of the kings of the earth. I have this rule, which, I’ll admit, my wife doesn’t particularly care for, and that’s: no Christmas music until after Thanksgiving. I don’t have a great reason for that rule, I just prefer to give Thanksgiving its fair due before turning toward Christmas. Well, we’re just a few day away from Thanksgiving, so I thought I’d bend my rule slightly and talk about Christmas music. If you had to choose a piece of music that encapsulates Christmas for you, what would it be? Anyone care to share? Maybe Silent Night, Joy to the World, Away in the Manger. In high school, we sang this beautiful piece composed by John Rutter, What Sweeter Music. But the one that comes to my mind is Handel’s Messiah. Quite a few of the movements of that piece are devoted to Christmas, the birth of Jesus. Do you know what the most famous song of that work is? Well, of course, it’s the Hallelujah Chorus. Now, while a large portion of the Messiah focuses on the birth of Jesus, the Hallelujah Chorus (even though it’s often sung at Christmas) it doesn’t. I mean, just listen to some of these lyrics: “For the Lord God omnipotent reigneth… King of kings, and Lord of lords… And He shall reign forever and ever.” Do you hear what the focus is? The same as the focus of today’s worship.
  • Voice Types Are Soprano, Mezzo Soprano, Tenor and Baritone

    Voice Types Are Soprano, Mezzo Soprano, Tenor and Baritone

    The four most common voice types are Soprano, Mezzo Soprano, Tenor and Baritone. FEMALE VOCAL RANGE RANGE FEMALE EXAMPLES Highest Soprano Coloratura Soprano Lucia in Lucia di Lammermoor Lyric Soprano Violetta in La Traviata Dramatic Soprano Leonara in Il Trovatore Mezzo Soprano Coloratura Mezzo Rosina in The Barber of Seville Dramatic Mezzo Carmen in Carmen Lowest Contralto Katisha in The Mikado VOICE SOPRANO The highest of the female voice types, the soprano has always had a TYPES place of importance in the order of vocal types. In the operatic world, the soprano is almost always the ‘heroine’ or leading character within an opera. MEZZO SOPRANO The mezzo is the lower-ranged female voice type. Throughout opera history the mezzo has been used to convey many different types of characters: everything from boys or young men (these are called trouser or pants roles), to mother-types, witches, gypsies and old women. The four most common voice types are Soprano, Mezzo Soprano, Tenor and Baritone. MALE VOCAL RANGE RANGE MALE EXAMPLES Highest Tenor Light Lyric Tenor Nemorino in La Cenerentola Lyric Tenor Nadir in the Pearlfishers Lyric-dramatic Tenor Rodolfo in La Boheme Dramatic Tenor Canio in Pagliacci Heldentenor Tristan in Tristan und Isolde Baritone Papageno in The Magic Flute Bass-baritone Figaro in The Magic of Figaro VOICE Lowest Bass Sarastro in The Magic Flute TENOR The Tenor is the highest of the male voices and has many sub categories TYPES such as a lyric tenor and a dramatic tenor. The tenor is usually cast in the romantic roles of opera.
  • 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 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.
  • An Introduction to Jacques Leguerney's Settings of the Poetry of Pierre De Ronsard

    An Introduction to Jacques Leguerney's Settings of the Poetry of Pierre De Ronsard

    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 2001 An Introduction to Jacques Leguerney's Settings of the Poetry of Pierre De Ronsard. Carol Fuqua Lines Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Lines, Carol Fuqua, "An Introduction to Jacques Leguerney's Settings of the Poetry of Pierre De Ronsard." (2001). LSU Historical Dissertations and Theses. 418. https://digitalcommons.lsu.edu/gradschool_disstheses/418 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
  • The Baritone Voice in the Seventeenth and Eighteenth Centuries: a Brief Examination of Its Development and Its Use in Handel’S Messiah

    The Baritone Voice in the Seventeenth and Eighteenth Centuries: a Brief Examination of Its Development and Its Use in Handel’S Messiah

    THE BARITONE VOICE IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES: A BRIEF EXAMINATION OF ITS DEVELOPMENT AND ITS USE IN HANDEL’S MESSIAH BY JOSHUA MARKLEY Submitted to the graduate degree program in The School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Dr. John Stephens ________________________________ Dr. Michelle Hayes ________________________________ Dr. Paul Laird ________________________________ Dr. Julia Broxholm ________________________________ Mr. Mark Ferrell Date Defended: 06/08/2016 The Dissertation Committee for JOSHUA MARKLEY certifies that this is the approved version of the following dissertation: THE BARITONE VOICE IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES: A BRIEF EXAMINATION OF ITS DEVELOPMENT AND ITS USE IN HANDEL’S MESSIAH ________________________________ Chairperson Dr. John Stephens Date approved: 06/08/2016 ii Abstract Musicians who want to perform Handel’s oratorios in the twenty-first century are faced with several choices. One such choice is whether or not to use the baritone voice, and in what way is best to use him. In order to best answer that question, this study first examines the history of the baritone voice type, the historical context of Handel’s life and compositional style, and performing practices from the baroque era. It then applies that information to a case study of a representative sample of Handel’s solo oratorio literature. Using selections from Messiah this study charts the advantages and disadvantages of having a baritone sing the solo parts of Messiah rather than the voice part listed, i.e. tenor or bass, in both a modern performance and an historically-informed performance in an attempt to determine whether a baritone should sing the tenor roles or bass roles and in what context.
  • Deutsche Nationalbibliografie 2012 T 12

    Deutsche Nationalbibliografie 2012 T 12

    Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2012 T 12 Stand: 19. Dezember 2012 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2012 ISSN 1613-8945 urn:nbn:de:101-ReiheT12_2012-3 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde.
  • Universal Production Music Has Rebranded Its Product from 2B to 2C This Year

    Universal Production Music Has Rebranded Its Product from 2B to 2C This Year

    Table of Contents Introduction························································································3 TVC·································································································· 4 Commentary············································································ 4 TVC Storyboard········································································· 6 Blog··································································································9 Commentary············································································ 9 Blog Demo············································································· 11 Twitter·····························································································14 Commentary···········································································14 Twitter Demo·········································································· 15 Instagram························································································· 16 Commentary···········································································16 Instagram Demo·······································································17 References························································································ 18 Introduction Universal Production Music has rebranded its product from 2B to 2C this year. This portfolio will help Universal Production Music build a connection with public customers. The key message is, “Bring your
  • Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast

    Downloaded PDF File of the Original First-Edi- Pete Extracted More Music from the Song Form of the Chart That Adds Refreshing Contrast

    DECEMBER 2016 VOLUME 83 / NUMBER 12 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin
  • Understanding the Lirico-Spinto Soprano Voice Through the Repertoire of Giovane Scuola Composers

    Understanding the Lirico-Spinto Soprano Voice Through the Repertoire of Giovane Scuola Composers

    UNDERSTANDING THE LIRICO-SPINTO SOPRANO VOICE THROUGH THE REPERTOIRE OF GIOVANE SCUOLA COMPOSERS Youna Jang Hartgraves Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2017 APPROVED: Jeffrey Snider, Major Professor William Joyner, Committee Member Silvio De Santis, Committee Member Stephen Austin, Chair of the Division of Vocal Studies Benjamin Brand, Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Hartgraves, Youna Jang. Understanding the Lirico-Spinto Soprano Voice through the Repertoire of Giovane Scuola Composers. Doctor of Musical Arts (Performance), August 2017, 53 pp., 10 tables, 6 figures, bibliography, 66 titles. As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.’ This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices.
  • Volume 71, Number 12 (December 1953) Guy Mccoy

    Volume 71, Number 12 (December 1953) Guy Mccoy

    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 1953 Volume 71, Number 12 (December 1953) Guy McCoy Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation McCoy, Guy. "Volume 71, Number 12 (December 1953)." , (1953). https://digitalcommons.gardner-webb.edu/etude/72 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. • • Early Choral Masters Series LeTTeRS the gift Choral composition flourished in Europe from the 13th century to about the complete prr-emlnenee ever choral muale; 10 mUCh10 middle of the 18th century. During this period the techniques of contrapuntal cepttons rhere we re hardly any choral com_ .. 01 Illllu.l >ftb bull~, , T 0 T D E EDITOR and harmonic practice were established, laying the basis for the future devel- the late 18th cen'ury or 'h. ho'" of 'Ile 1Dth"""Ul}' 1 """-Iut!ll> ~ that speaks opment of practically all Western music. It was not untn after 1600 that of the 20th century. ho ver, a rene ...eel In~reat lw bot0u1ing 1llt1illl~ interest in instrumental composition gradually relegated choral music to a works of Ole ~arJy chonl mu~,.
  • COLORATURA and LYRIC COLORATURA SOPRANO

    COLORATURA and LYRIC COLORATURA SOPRANO

    **MANY OF THESE SINGERS SPANNED MORE THAN ONE VOICE TYPE IN THEIR CAREERS!** COLORATURA and LYRIC COLORATURA SOPRANO: DRAMATIC SOPRANO: Joan Sutherland Maria Callas Birgit Nilsson Anna Moffo Kirstin Flagstad Lisette Oropesa Ghena Dimitrova Sumi Jo Hildegard Behrens Edita Gruberova Eva Marton Lucia Popp Lotte Lehmann Patrizia Ciofi Maria Nemeth Ruth Ann Swenson Rose Pauly Beverly Sills Helen Traubel Diana Damrau Jessye Norman LYRIC MEZZO: SOUBRETTE & LYRIC SOPRANO: Janet Baker Mirella Freni Cecilia Bartoli Renee Fleming Teresa Berganza Kiri te Kanawa Kathleen Ferrier Hei-Kyung Hong Elena Garanca Ileana Cotrubas Susan Graham Victoria de los Angeles Marilyn Horne Barbara Frittoli Risë Stevens Lisa della Casa Frederica Von Stade Teresa Stratas Tatiana Troyanos Elisabeth Schwarzkopf Carolyn Watkinson DRAMATIC MEZZO: SPINTO SOPRANO: Agnes Baltsa Anja Harteros Grace Bumbry Montserrat Caballe Christa Ludwig Maria Jeritza Giulietta Simionato Gabriela Tucci Shirley Verrett Renata Tebaldi Brigitte Fassbaender Violeta Urmana Rita Gorr Meta Seinemeyer Fiorenza Cossotto Leontyne Price Stephanie Blythe Zinka Milanov Ebe Stignani Rosa Ponselle Waltraud Meier Carol Neblett ** MANY SINGERS SPAN MORE THAN ONE CATEGORY IN THE COURSE OF A CAREER ** ROSSINI, MOZART TENOR: BARITONE: Fritz Wunderlich Piero Cappuccilli Luigi Alva Lawrence Tibbett Alfredo Kraus Ettore Bastianini Ferruccio Tagliavani Horst Günther Richard Croft Giuseppe Taddei Juan Diego Florez Tito Gobbi Lawrence Brownlee Simon Keenlyside Cesare Valletti Sesto Bruscantini Dietrich Fischer-Dieskau