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Hawthorne's Use of Mirror Symbolism in His Writings
The Woman's College of The University of North Carolina LIBRARY CQ COLLEGE COLLECTION Gift of Jane './nicker lie lie tt KSLLSTT, JANS WHICKER. Hawthorne's Use of Mirror Symbolism in His Writings. (1968) Directed by Dr. Robert 0. Steohens. pp. 60 Ihroughout the course of Nathaniel Hawthorne's writin* one notes an extensive use of mirrors and other reflecting objects—brooks, lakes, fountains, pools, suits of armor, soao bubbles, the Duoils of oeople's eyes, and others. Surprisingly enough, few scholars and critics have had much to say about this slgnigiCRnt mirror symbolism; perhaps Hawthorne succeeded so well In concealing; these images that they exoress meaning without directing attention to their Dresence. Nevertheless, they are very much in evidence and for a very definite purpose. Hawthorne, whose works cover the problem of moral growth in man, was attempting to show mankind that only through an intense self-lntrosoectlon and self-examination of the interior of his Innermost bein°:—his heart—would he be able to live in an external world which often apoeared unintelligible to him; and through the utiliza- tion of mirror images., Hawthorne could often reveal truths hidden from the outer eyes of man. Hawthorne's Interest in mirrors is manifest from his earliest attempts in writing; indeed, he spoke of his imaerination as a mirror—it could reflect the fantasies from his haunted mind or the creations from his own heart. More Importantly, the mirror came to be for Hawthorne a kind of "magic" looking glass in which he could deoict settings, portray character, emphasize iraoortant moments, lend an air of the mysterious and the suoernatural, and disclose the meaning beneath the surface. -
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 -
F, Sr.Auifuvi
NATHANIEL HAWTHORNE' S USE OF WITCH AND DEVIL LORE APPROVED: Major Professor Consulting Professor Iinor Professor f, sr. auifUvi Chairman of" the Department of English Dean of the Graduate School Robb, Kathleen A., Nathaniel Hawthorne;s Fictional Use of Witch and Devil Lore. Master of Arts (English), December, - v 1970, 119 pp., bibliography, 19 titles. Nathaniel Hawthorne's personal family history, his boy- hood in the Salem area of New England, and his reading of works about New England's Puritan era influenced his choice of witch and Devil lore as fictional material. The witch- ci"aft trials in Salem were evidence (in Hawthorne's inter- pretation) of the errors of judgment and popular belief which are ever-present in the human race. He considered the witch and Devil doctrine of the seventeenth century to be indicative of the superstition, fear, and hatred which governs the lives of men even in later centuries. From the excesses of the witch-hunt period of New England history Hawthorne felt moral lessons could be derived. The historical background of witch and Devil lore, while helpful in illustrating moral lessons, is used by Hawthorne to accomplish other purposes. The paraphernalia of witchcraft with its emphasis on terrible and awesome ceremonies or practices such as Black Sabbaths, Devil compacts, image-magic, spells and curses, the Black Man in'the forest, spectral shapes, and familiar spirits is used by Hawthorne to add atmospheric qualities to his fiction. Use of the diabolic creates the effects of horror, suspense, and mystery. Furthermore, such 2 elements of witch and Devil doctrine (when introduced in The Scarlet Letter, short stories, and historical sketches) also provide an aura of historical authenticity, thus adding a v dimension of reality and concreteness to the author's fiction. -
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. -
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. -
Visualizing the Romance: Uses of Nathaniel Hawthorne's Narratives in Comics1
Visualizing the Romance: Uses of Nathaniel Hawthorne’s Narratives in Comics1 Derek Parker Royal Classic works of American literature have been adapted to comics since the medium, especially as delivered in periodical form (i.e., the comic book), first gained a pop cultural foothold. One of the first texts adapted by Classic Comics, which would later become Classics Illustrated,2 was James Fenimore Cooper’s The Last of the Mohicans, which appeared in issue #4, published in August 1942. This was immediately followed the next month by a rendering of Moby-Dick and then seven issues later by adaptations of two stories by Washington Irving, “Rip Van Winkle” and “The Headless Horseman.”3 As M. Thomas Inge points out, Edgar Allan Poe was one of the first, and most frequent, American authors to be translated into comics form (Incredible Mr. Poe 14), having his stories adapted not only in early issues of Classic Comics, but also in Yellow- jacket Comics (1944–1945) and Will Eisner’s The Spirit (1948).4 What is notable here is that almost all of the earliest adaptations of American literature sprang not only from antebellum texts, but from what we now consider classic examples of literary romance,5 those narrative spaces between the real and the fantastic where psychological states become the scaffolding of national and historical morality. It is only appropriate that comics, a hybrid medium where image and text often breed an ambiguous yet pliable synthesis, have become such a fertile means of retelling these early American romances. Given this predominance of early nineteenth-century writers adapted to the graphic narrative form, it is curious how one such author has been underrepresented within the medium, at least when compared to the treatment given to his contemporaries. -
Romantic Ameran Literature: Sources for Criticism. a Research Guide
DOCUMENT RESUME ED 329 984 CS 212 734 AUTHOR Van Noate, Judith, Comp. TITLE Romantic Ameran Literature: Sources for Criticism. A Research Guide. INSTITUTION North Carolina Univ., Charlotte. J. Murrey Atkins Library. PUB DATE 90 NOTE 23p.; For other guides in this series, see CS 212 732-739. Small print on some pages may affect legibility. PUB TYPE Guides - Non-Classroom Use (055)-- Reference Materials - Bibliographies (131) -- Reference Materials - Directories/Catalogs (132) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS Authors; English Literature; Higher Education; Library Guides; *Library Materials; Library Skills; *Literary Criticism; *Nineteenth Century Literature; *Reference Materials; *Romanticism; *United States Literature IDENTIFIERS University of North Carolina Charlotte ABSTRACT This handcut is a guide to library resources in the J. Murrey Atkins Library at the University ofNorth Carolina-Charlotte for the criticism of Romantic (19th century) American literature. The guide explains important referencesources in the Atkins library reference collection and howto find biographical and critical information in books andperiodicals. The guide's sections cover three sources of criticism: (1)general reference works (biographical and critical information);(2) books on individual authors and their work; and (3) indexesto criticism in periodicals. (SR) *********************************************************************** Reproductions supplied by EDRS are the bestthat can be made from the original document. ***************************************************%***A*************** -
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. -
•Œrappaccini's Daughter╊
"Rappaccini's Daughter" - Sources and Names BURTON R. POLLIN RAPPACCINI'S DAUGHTER has always been viewed as one of Hawthorne's strangest and most provocative tales. I should like to consider a few of the possible sources which serve chiefly to under- score the theme of the transformation or re-creation of human life, these being Mary Shelley's Frankenstein, Godwin's St. Leon, and Milton's Paradise Lost. Related to the supernatural motif of the story is the meaning in Italian of the names of four major characters. That Hawthorne could not have failed to know Frankenstein has been assumed by R. P. Adams for "The Birthmark." 1Mary Shelley's first work was a celebrated, perhaps even notorious, novel during the period of Hawthorne's early development, and it continued to be popular throughout the century. There were to be at least nine reprints in English of this work of 1818, two of them published in the United States.2 The third edition of 1831, with a long new pre- face by the author, constituted the ninth of the popular "Standard Novels" of Colburne and Bentley.3 Hawthorne probably saw the 1833 Philadelphia reprint by the well-known firm of Carey and Lea, to which he had addressed a request in 1832 concerning an article for the Souvenir, one of its publications.4 Frankenstein is a distinguished specimen of the Gothic tale, a genre which was promi- nent in Hawthorne's reading.5 It has left its traces in The Scarlet 1 R. P. Adams in Tulane Studies, VIII (1958), 115-151, "Hawthorne: The Old Manse" - specifically, p. -
An Analysis and Discussion of Zwischenfach Voices by Jennifer
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ASU Digital Repository An Analysis and Discussion of Zwischenfach Voices by Jennifer Allen A Research Paper Presented in Partial Fulfillment of the Requirements of the Degree Doctor of Musical Arts Approved April 2012 by the Graduate Supervisory Committee: Carole FitzPatrick, Co-Chair Kay Norton, Co-Chair Dale Dreyfoos Russell Ryan Robert Barefield ARIZONA STATE UNIVERSITY May 2012 ABSTRACT Zwischen in the German language means ‘between,’ and over the past century, as operatic voices have evolved in both range and size, the voice classification of Zwischenfach has become much more relevant – particularly to the female voice. Identifying whether nineteenth century composers recognized the growing opportunities for vocal drama, size, and range in singers and therefore wrote roles for ‘between’ singers; or conversely whether, singers began to challenge and develop their voices to sing the new influx of romantic, verismo and grand repertoire is difficult to determine. Whichever the case, teachers and students should not be surprised about the existence of this nebulous Fach. A clear and concise definition of the word Fach for the purpose of this paper is as follows: a specific voice classification. Zwischenfach is an important topic because young singers are often confused and over-eager to self-label due to the discipline’s excessive labeling of Fachs. Rushing to categorize a young voice ultimately leads to misperceptions. To address some of the confusion, this paper briefly explores surveys of the pedagogy and history of the Fach system. To gain insights into the relevance of Zwischenfach in today’s marketplace, I developed with my advisors, colleagues and students a set of subjects willing to fill out questionnaires. -
Dispelling Vocal Myths. Part IV: “Talk Higher!”
VOICE PEDAGOGY Scott McCoy, Associate Editor Dispelling Vocal Myths. Part IV: “Talk Higher!” Deirdre Michael y associate, Lisa Butcher, MM, MA, CCC/SLP, came into my office, sighing and shaking her head. “In your next ‘myths’ article, will you please tell singing teachers to stop telling their students ‘you need to talk higher’? I’m so tired of treating sing- Mers who have muscle tension and pain because they’re trying to talk at some totally inappropriate pitch and register adjustment!” I have agreed with this for years, and when we discussed the topic with other voice-specialty speech language pathologists, they lamented universally that the “talk higher” myth Deirdre Michael is common not only among singing teachers, but among nonvoice-specialty speech language pathologists as well. This is the fourth in a series of articles aimed at clarifying misconceptions about vocal production that can cause technical problems, or reduced effi- ciency in singing. One of the reasons to call these misconceptions “myths” is that they seem to have been learned implicitly rather than explicitly. In this case, though, I believe there has been explicit teaching and learning of information that is no longer considered correct. Indeed, Lisa is referring to something these singers have been told very specifically by their teachers: “You’re speaking at too low a pitch; talk higher.” Like many of the ana- tomically incorrect images we use routinely in the studio, this advice is well motivated, but can have unintended consequences. MYTH #1: “CHEST VOICE” iS DANGEROUS; ONE SHOULD TALK In “HEAD VOICE” BECAUSE IT PROTECTS THE VOICE Actually, while this myth was still active some twenty years ago, it isn’t particu- larly pervasive now (as far as I can tell). -
Short Stories of Various Types, by Various, the Project Gutenberg Ebook, Short Stories of Various Types, by Various, Edited by Laura F
Short Stories of Various Types, by Various, The Project Gutenberg eBook, Short Stories of Various Types, by Various, Edited by Laura F. Freck This eBook is for the use of anyone anywhere at no cost and with almost no restr ictions whatsoever. You may copy it, give it away or re-use it under the terms o f the Project Gutenberg License included with this eBook or online at www.gutenb erg.org Title: Short Stories of Various Types Author: Various Editor: Laura F. Freck Release Date: March 15, 2007 [eBook #20831] Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK SHORT STORIES OF VARIOUS TYPES*** E-text prepared by Suzanne Lybarger, Brian Janes, and the Project Gutenberg Onli ne Distributed Proofreading Team (http://www.pgdp.net) Note: Project Gutenberg also has an HTML version of this file which includes the original illustrations. See 20831-h.htm or 20831-h.zip: (http://www.gutenberg.n et/dirs/2/0/8/3/20831/20831-h/20831-h.htm) or (http://www.gutenberg.net/dirs/2/0 /8/3/20831/20831-h.zip) Transcriber's Note: This text contains both footnotes and endnotes. The three footnotes are marked with an upper case letter (i.e., [A]). The endnotes are marked with both a page number and a note number (i.e., [126-1] ). Merrill's English Texts SHORT STORIES OF VARIOUS TYPES Edited with an Introduction and Notes by LAURA F. FRECK, Head of the English Department in the High School, Jamestown, Ne w York [Illustration: JAMES MATTHEW BARRIE] Charles E.