Glottal Behavior in the High Soprano Range and the Transition to The
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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. -
Voice Types in Opera
Voice Types in Opera In many of Central City Opera’s educational programs, we spend some time explaining the different voice types – and therefore character types – in opera. Usually in opera, a voice type (soprano, mezzo soprano, tenor, baritone, or bass) has as much to do with the SOUND as with the CHARACTER that the singer portrays. Composers will assign different voice types to characters so that there is a wide variety of vocal colors onstage to give the audience more information about the characters in the story. SOPRANO: “Sopranos get to be the heroine or the princess or the opera star.” – Eureka Street* “Sopranos always get to play the smart, sophisticated, sweet and supreme characters!” – The Great Opera Mix-up* A soprano is a woman’s voice type. There are many different kinds of sopranos within the general category: coloratura, lyric, and spinto are a few. Coloratura soprano: Diana Damrau as The Queen of the Night in The Magic Flute (Mozart): https://youtu.be/dpVV9jShEzU Lyric soprano: Mirella Freni as Mimi in La bohème (Puccini): https://youtu.be/yTagFD_pkNo Spinto soprano: Leontyne Price as Aida in Aida (Verdi): https://youtu.be/IaV6sqFUTQ4?t=1m10s MEZZO SOPRANO: “There are also mezzos with a lower, more exciting woman’s voice…We get to be magical or mythical characters and sometimes… we get to be boys.” – Eureka Street “Mezzos play magnificent, magical, mysterious, and miffed characters.” – The Great Opera Mix-up A mezzo soprano is a woman’s voice type. Just like with sopranos, there are different kinds of mezzo sopranos: coloratura, lyric, and dramatic. -
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. -
Categorization of Vocal Fry in Running Speech
Bowling Green State University ScholarWorks@BGSU Honors Projects Honors College Fall 12-2019 Categorization of Vocal Fry in Running Speech Katherine Proctor [email protected] Follow this and additional works at: https://scholarworks.bgsu.edu/honorsprojects Part of the Laboratory and Basic Science Research Commons Repository Citation Proctor, Katherine, "Categorization of Vocal Fry in Running Speech" (2019). Honors Projects. 549. https://scholarworks.bgsu.edu/honorsprojects/549 This work is brought to you for free and open access by the Honors College at ScholarWorks@BGSU. It has been accepted for inclusion in Honors Projects by an authorized administrator of ScholarWorks@BGSU. CATEGORIZATION OF VOCAL FRY IN RUNNING SPEECH CATEGORIZATION OF VOCAL FRY IN RUNNING SPEECH KATHERINE PROCTOR HONORS PROJECT Submitted to the Honors College at Bowling Green State University in partial fulfillment of the requirements for graduation with UNIVERSITY HONORS 12/9/19 Dr. Ronald Scherer, Communication Sciences and Disorders, College of Health and Human Services, Advisor Dr. Katherine Meizel, Musicology/Ethnomusicology, College of Musical Arts, Advisor 1 CATEGORIZATION OF VOCAL FRY IN RUNNING SPEECH INTRODUCTION The concept of a vocal register has been defined by Hollien (1974) as “a series or range of consecutive frequencies that can be produced with nearly identical voice quality.” There are three different vocal registers in speech production according to Hollien (1974). These registers are: loft, which is the highest of the three, and could be described perceptually as the “falsetto” range; modal, which is the middle range and is evident in “normal” speech production; and pulse, the lowest range of phonation that is characterized by popping, pulsing sounds. -
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 -
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600
Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 By Leon Chisholm A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Professor Mary Ann Smart Professor Massimo Mazzotti Summer 2015 Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 Copyright 2015 by Leon Chisholm Abstract Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600 by Leon Chisholm Doctor of Philosophy in Music University of California, Berkeley Professor Kate van Orden, Co-Chair Professor James Q. Davies, Co-Chair Keyboard instruments are ubiquitous in the history of European music. Despite the centrality of keyboards to everyday music making, their influence over the ways in which musicians have conceptualized music and, consequently, the music that they have created has received little attention. This dissertation explores how keyboard playing fits into revolutionary developments in music around 1600 – a period which roughly coincided with the emergence of the keyboard as the multipurpose instrument that has served musicians ever since. During the sixteenth century, keyboard playing became an increasingly common mode of experiencing polyphonic music, challenging the longstanding status of ensemble singing as the paradigmatic vehicle for the art of counterpoint – and ultimately replacing it in the eighteenth century. The competing paradigms differed radically: whereas ensemble singing comprised a group of musicians using their bodies as instruments, keyboard playing involved a lone musician operating a machine with her hands. -
How to Read Choral Music.Pages
! How to Read Choral Music ! Compiled by Tim Korthuis Sheet music is a road map to help you create beautiful music. Please note that is only there as a guide. Follow the director for cues on dynamics (volume) and phrasing (cues and cuts). !DO NOT RELY ENTIRELY ON YOUR MUSIC!!! Only glance at it for words and notes. This ‘manual’ is a very condensed version, and is here as a reference. It does not include everything to do with reading music, only the basics to help you on your way. There may be !many markings that you wonder about. If you have questions, don’t be afraid to ask. 1. Where is YOUR part? • You need to determine whether you are Soprano or Alto (high or low ladies), or Tenor (hi men/low ladies) or Bass (low men) • Soprano is the highest note, followed by Alto, Tenor, (Baritone) & Bass Soprano NOTE: ! Alto If there is another staff ! Tenor ! ! Bass above the choir bracket, it is Bracket usually for a solo or ! ! ‘descant’ (high soprano). ! Brace !Piano ! ! ! • ! The Treble Clef usually indicates Soprano and Alto parts o If there are three notes in the Treble Clef, ask the director which section will be ‘split’ (eg. 1st and 2nd Soprano). o Music written solely for women will usually have two Treble Clefs. • ! The Bass Clef indicates Tenor, Baritone and Bass parts o If there are three parts in the Bass Clef, the usual configuration is: Top - Tenor, Middle - Baritone, Bottom – Bass, though this too may be ‘split’ (eg. 1st and 2nd Tenor) o Music written solely for men will often have two Bass Clefs, though Treble Clef is used for men as well (written 1 octave higher). -
Vocal Tract Dimensions and Vocal Fold Vibratory Characteristics Title of Professional Singers of Different Singing Voice Types
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by HKU Scholars Hub Vocal tract dimensions and vocal fold vibratory characteristics Title of professional singers of different singing voice types Author(s) Chan, Ka-u; 陳加裕 Chan, K. [陳加裕]. (2012). Vocal tract dimensions and vocal fold vibratory characteristics of professional singers of different Citation singing voice types. (Thesis). University of Hong Kong, Pokfulam, Hong Kong SAR. Issued Date 2012 URL http://hdl.handle.net/10722/237890 This work is licensed under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International License.; The Rights author retains all proprietary rights, (such as patent rights) and the right to use in future works. Running head: VOCAL TRACT AND VOICE SOURCE CHARACTERISTICS 1 Vocal tract dimensions and vocal fold vibratory characteristics of professional singers of different singing voice types Chan, Ka U Edith A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, June 30, 2012. VOCAL TRACT AND VOICE SOURCE CHARACTERISTICS 2 Abstract This study aimed to examine the relationship between different singing voice types and their vocal fold vibratory characteristics and vocal tract dimensions. A total of 19 tenors, 10 baritones, 29 sopranos, and 4 mezzo-sopranos participated in the study. Electroglottography (EGG) was used to measure the vocal fold vibratory characteristics, based on which parameters including open quotient (Oq) and fundamental frequency (F0) were derived. During the experiment, the participants sang the song “Happy Birthday” with constant loudness level and at the most comfortable pitch level. -
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. -
List of the Singers Admitted to the Competition
LIST OF THE SINGERS ADMITTED TO THE COMPETITION FIRST NAME SURNAME COUNTRY VOICE TYPE NOTES 1 Gamid Abdulov RUSSIA / AZERBAIJAN baritone Recommendation by The 2 Alina Adamski POLAND soprano International Opera Studio (IOS), Opernhaus Zurich Not evaluated by: Matthias 3 Stefan Astakhov GERMANY baritone Rexroth (according to point II.6 of Selection Panel’s Statute) Not evaluated by: Matthias 4 Dagmara Barna POLAND soprano Rexroth (according to point II.6 of Selection Panel’s Statute) 5 Eliza Boom NEW ZEALAND soprano 6 Paweł Brożek POLAND tenor Not evaluated by: Matthias 7 Monika Buczkowska POLAND soprano Rexroth (according to point II.6 of Selection Panel’s Statute) Prizewinner of Leyla Gencer 8 Piotr Buszewski POLAND tenor Voice Competition 9 Vladislav Buyalskiy UKRAINE bass-baritone Not evaluated by: Matthias 10 Paride Cataldo ITALY tenor Rexroth (according to point II.6 of Selection Panel’s Statute) Recommendation by Opera 11 Anna El-Khashem RUSSIA soprano Studio of the Bayerische Staatsoper 12 Frische Felicitas GERMANY soprano 13 Margrethe Fredheim NORWAY soprano 14 Kseniia Galitskaia RUSSIA soprano 15 Kim Gihoon SOUTH KOREA baritone 16 William Goforth USA tenor Not evaluated by: Matthias Agnieszka 17 Grochala POLAND soprano Rexroth (according to point II.6 Jadwiga of Selection Panel’s Statute) Not evaluated by: Matthias 18 Yuriy Hadzetskyy UKRAINE baritone Rexroth (according to point II.6 of Selection Panel’s Statute) 19 Anna Harvey UK mezzo-soprano Not evaluated by: Matthias 20 Mateusz Hoedt POLAND bass Rexroth (according to point -
Healthy Performance Practice for Male Barbershop Singers
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Student Research, Performance, and Creative Activity: Hixson-Lied College of Fine and Fine and Performing Arts, Hixson-Lied College Performing Arts of Spring 4-18-2011 Healthy Performance Practice for Male Barbershop Singers Jacob K. Bartlett University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/hixsonliedstudent Part of the Music Practice Commons, and the Other Music Commons Bartlett, Jacob K., "Healthy Performance Practice for Male Barbershop Singers" (2011). Student Research, Performance, and Creative Activity: Hixson-Lied College of Fine and Performing Arts. 6. https://digitalcommons.unl.edu/hixsonliedstudent/6 This Article is brought to you for free and open access by the Fine and Performing Arts, Hixson-Lied College of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Student Research, Performance, and Creative Activity: Hixson-Lied College of Fine and Performing Arts by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. HEALTHY PERFORMANCE PRACTICE FOR MALE BARBERSHOP SINGERS by Jacob K. Bartlett A DOCTORAL DOCUMENT Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Doctor of Musical Arts Major: Music Under the Supervision of Professor William Shomos Lincoln, Nebraska May, 2011 HEALTHY PERFORMANCE PRACTICE FOR MALE BARBERSHOP SINGERS Jacob K. Bartlett, D.M.A. University of Nebraska, 2011 Adviser: William Shomos Barbershop singing is a hobby enjoyed by hundreds of thousands of men and women across the world. We attend conventions, shows, competitions, and educational outreach programs each year at our own expense to preserve a style we truly love. -
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.