Positioning for the Future
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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 -
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. -
Beneath Berlin
Beneath Berlin. A Beginner’sB GuideB to the German Capital. 1 Section key. -Sights and Monuments- Symbol key. Contents. About Berlin. -Art and Museums- -Editor’s Crown- Neighbourhoods > pp. 7-11 This symbol indicates that our crack teams of eaters, Berlin Timeline > pp. 12-15 -Outdoors- drinkers, party goers and art critics have chosen the Survival Guide > pp. 16-23 crowned article as truly the best of Berlin. -Food and drink- Language Tips > pp. 24-25 Beers of Berlin > pp. 26-27 -Nightlife- -Bargain Birdsong- This symbol indicates Ampelmann > pp. 28-29 when something is best for a budget without Getting Around > pp. 30-33 -Shopping- compromising on quality - it essentially appears when good things are going cheap. A t t r a c t i o n R e v i e w s . -Entertainment- Sights and Monuments > pp. 34-58 -Accommodation- Art and Museums > pp. 59-83 Outdoors > pp. 84-104 Food and Drink > pp. 105-132 Nightlife > pp. 133-145 Shopping > pp. 146-155 Entertainment > pp. 156-163 Accommodation > pp. 164-171 4 52 Ampelmann: Who is he? Remember the traffic man you Hackescher Markt, Pots- see when you cross the street? damer Platz, Karl Liebkne- Have you ever wondered if it cht Straße, Gendarmenmarkt was more than a stop/go sign? and Unter den Linden. For Different countries have varied those with a sweet-tooth, versions of what Berliners call complimentary Ampelmann the “Ampelmännchen”. If you gummy sweets are available ever get lost, just look at the traf- in every store so feel free to fic lights. -
Ost-Ampelmännchen and the Memory of The
Crossing Past and Present: Ost-Ampelmännchen and the Memory of the German Democratic Republic By: Kyle Massia A thesis submitted to Saint Mary’s University, Halifax, Nova Scotia in Partial Fulfillment of the Requirements for the Degree of Master of Arts. April, 2014, Halifax, Nova Scotia Copyright by Kyle Massia, 2014 Dr. Kirrily Freeman Associate Professor Dr. Nicole Neatby Associate Professor Dr. John Munro Assistant Professor Dr. John Bingham Assistant Professor Date: 22 April 2014 1 Abstract Crossing Past and Present: Ost-Ampelmännchen and the Memory of the German Democratic Republic By Kyle Massia, 22 April 2014 Abstract: Despite his connection to daily life in East Germany; east Germans began replacing their chubby, hat-wearing pedestrian light figure (the Ost-Ampelmännchen, or Ampelmann) with the non-descript West German one in the euphoria of reunification. By the mid-1990s, however, east Germans began to see their old state differently, bringing back their Ampelmann as a reminder of the safety, security, and equality their old state possessed. Following his resurrection, Ampelmann transformed into a pop-culture icon as shops sprung up selling Ampelmann-branded products. From here, his popularity spread as Ampelmann lights appeared in western Germany and Ampelmann shops opened their doors not only in Berlin, but also in Tokyo and Seoul. East Germans supported this, declaring that his popularity showed that their past and its values could find a place in a globalizing world. In doing so, East Germans have used and rewritten their past to promote a more respectful and equitable alternative to modern life. 2 Introduction: Traffic lights were probably the last thing on the minds of East Germans on 9 November 1989 as the Berlin Wall fell and the borders of their German Democratic Republic (GDR) opened. -
The Connected Voice Teacher
061-100_JOS_SeptOct10_depts_C 7/30/10 2:16 PM Page 67 THE PRIVATE STUDIO Carl Swanson, Associate Editor The Connected Voice Teacher Kari Ragan INGERS WHO CHOOSE TO TEACH privately instead of pursuing an aca- demic position experience both rewards and challenges. Private teach- ing grants independence, but also isolates teachers in a profession that depends upon collaboration and connection. Nevertheless, they Scan find many opportunities to stay engaged and informed. This article sug- gests numerous ways in which teachers can connect outside the boundaries of the private voice studio, including continued education, networking, per- forming, and fostering collegial relationships. Kari Ragan EDUCATE For centuries, singing technique has been passed down from generation to gen- eration. However, the past few decades have brought about a great deal of advancement in teaching singing through modern studies in voice science. This new information is having a profound impact on current voice peda- gogy. It is imperative that voice teachers in both private and university stu- dios continue to expand their knowledge of voice science so as not to perpetuate misconceptions inadvertently passed on from one teacher to the next. Various organizations provide opportunities for continuing education. NATS, The Voice Foundation, NYSTA, MENC, and Opera America are a few that can lead to remarkable collaborative relationships, not only from the singing perspective, but also from fields of medicine, speech, and drama. It is necessary for the effective voice teacher to be informed and educated beyond his or her collegiate degrees and to continually refresh his or her knowledge. Numerous voice-related organizations offer many opportuni- ties for teachers to develop and stay connected to a larger body of voice professionals. -
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. -
Volume 66, Number 07 (July 1948) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1948 Volume 66, Number 07 (July 1948) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cooke, James Francis. "Volume 66, Number 07 (July 1948)." , (1948). https://digitalcommons.gardner-webb.edu/etude/171 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]. utTL II Lh > r tMii.L gmm THEODORE PRESSER Educator - Publisher - Philanthropist 1848-1925 ONE HUNDREDTH ANNIVERSARY Founder of The Music Teachers National Association, The Etude Music Magazine — Theodore Presser Company The Presser Foundation . Hans Schweiger, who since 1944 has the Fort Bayne of the seventy-fifth been conductor of The Music Season has In- (Indiana) Philharmonic Orchestra, i annual assembly of the Chatauqua conductorship of the Kansas stitution will open at Lake Chautauqua accepted the a position vacated by on July 16 with an operatic performance City Philharmonic, he became conductor conducted by Alfredo A alenti. On July Efrem Kurtz when (Texas) Symphony 17 the Chautauqua Symphony Orchestra, of the Houston under the baton of Franco Autori, will Orchestra. open a series of twenty-four concerts. Prof. Paul Stoye, concert pianist and twenty-seven years head of The Goldman Band, on June 18. -
17 April 2016
12 – 17 APRIL 2016 FESTIVAL CATALOGUE INHALT CONTENTS VORSPANN INTRO Programmplan Programme Schedule ......................................................................................................................................................................... 2 Tickets ...............................................................................................................................................................................................................................................4 Impressum Imprint ..................................................................................................................................................................................................................4 Grußworte Welcoming Addresses ..................................................................................................................................................................................6 Partner & Förderer Partners & Supporters ..............................................................................................................................................................10 Team ................................................................................................................................................................................................................................................. 11 Preise & Preisstifter Awards & Sponsors ...................................................................................................................................................................12 -
An Investigation of CCM Voice Pedagogy: a Class of Its Own?
An Investigation of Contemporary Commercial Music (CCM) Voice Pedagogy: A Class of its Own? Irene Bartlett and Marisa Lee Naismith INTRODUCTION ithin the fields of singing voice pedagogy and voice science, there is wide acceptance that the sound production inherent in contemporary commercial music (CCM) singing styles differs greatly from accepted, classical vocal practice— Wmost notably in areas of voice quality, tone, and registration, and associated style-related technical requirements, such as speech quality phonation and style-related vocal effects. Given the growing public demand for singing Irene Bartlett voice training in CCM styles, this proposition poses a dilemma for teachers and singers/students who have been trained only in the traditional classical model.1 The main challenge lies in the fact that the field of CCM singing lacks clear and cohesive pedagogy that addresses the specific style-related technique and vocal health needs of CCM singers. According to Potter, one of the most notable advantages classical singing has over contemporary commercial music (CCM) singing is a systemized field of voice pedagogy. 2 To date, the teaching-learning situations in CCM have traditionally been perceived as less intentional, less goal oriented, and generally less formal than in classical music. In contrast, Wilson suggests that, Marisa Lee Naismith irrespective of genre, all professional vocalists are confronted with numerous technical and artistic demands, while forcefully asserting that CCM singers should be granted the same respect as their classical colleagues.3 Wilson states also that “technical” elements of voice production for classical and CCM styles differ. There is strong support for this view. -
CONTEMPORARY COMMERCIAL MUSIC Vocal Pedagogy Institute 2015
Non-Profit Org. US Postage P A I D Permit No. 19 Winchester, VA 22601 1460 University Drive Winchester, VA 22601 Shenandoah Conservatory’s CONTEMPORARY COMMERCIAL MUSIC vocal pedagogy institute 2015 “This nine-day experience has given me a sense of renewal, revival, and a much-needed boost in my spirit as a singer and a teacher.” – Dr. Lynell Kruckeberg college level faculty | red lodge, montana CELEBRATING THIRTEEN YEARS SUMMER SESSIONS JULY 18-26 SESSION DATES Level I: July 18-20 Level II: July 21-23 Level III: July 24-26 CELEBRATING THIRTEEN YEARS Vocal Pedagogy Shenandoah Conservatory’s Institute Faculty Jeannette LoVetri CONTEMPORARY Artistic Director Dr. Kathryn Green * Executive Director COMMERCIAL MUSIC Matthew Edwards vocal pedagogy institute 2015 Associate Director Tom Arduini Robert Doyle Pedagogy for the 21st Century Marcelle Gauvin Jamie Leonhart Both the Contemporary Commercial Music (CCM) Vocal Pedagogy Institute and Shenandoah Ed Reisert Conservatory’s graduate vocal pedagogy program have been instrumental in establishing CCM vocal Michelle Rosen pedagogy as a viable area of training at the highest academic level. More than 1000 participants from the United States and 11 other countries—ranging from young people just beginning their careers to seasoned Guest Faculty educators and singers have come to Shenandoah’s campus to receive this training. Beth Amin SLP, Voice Specialist and Over the past 12 years, the CCM Vocal Pedagogy Institute has produced a network of dedicated vocal Singer/Songwriter professionals who value voice science, vocal health, and relevant voice training. Experts who are curious, open-minded, and excited about exploring new ideas with like-minded colleagues gather to learn as well as Andy Einhorn to develop and expand their skills. -
Soul: Diorama
SOUL: DIORAMA ____________ A Master’s Exhibition of Sculpture Presented to the Faculty of California State University, Chico ____________ In Partial Fulfillment of the Requirement for the Degree Master of Fine Arts in Art ____________ by © Ryan Skylar Gibbons 2017 Fall 2017 SOUL: DIORAMA A Master’s Exhibition by Ryan Skylar Gibbons Fall 2017 APPROVED BY THE INTERIM DEAN OF GRADUATE STUDIES: _________________________________ Sharon Barrios, Ph.D. APPROVED BY THE GRADUATE ADVISORY COMMITTEE: _________________________________ _________________________________ Cameron G. Crawford, M.F.A. Cameron G. Crawford, M.F.A., Chair Graduate Coordinator _________________________________ Sheri Simons, M.F.A. PUBLICATION RIGHTS No portion of this project may be reprinted or reproduced in any manner unacceptable to the usual copyright restrictions without the written permission of the author. iii TABLE OF CONTENTS PAGE Publication Rights....................................................................................................... iii List of Figures............................................................................................................. v Abstract....................................................................................................................... viii CHAPTER I. Introduction............................................................................................... 1 Limitations .................................................................................... 3 Definitions.................................................................................... -
Berlin: Stalins
Berlin: Stalins öra C-J CHARPENTIER FRANKFURTER ALLEE, som bytt namn flera gånger och bland annat hetat Stalin- allee, skär genom östra Berlin fram till Alexanderplatz – en gata präglad judisk köpenskap, blodiga uppror, krigets bomber, massmord och storskaliga arkitektoniska experi- ment. Följt av hämningslös mark- nadsekonomi efter Murens fall BERLIN: STALINS ÖRA är en unik dokumentation av gatans historia, kulturliv och politiska växlingar från gårdag till samtid – en spännande och i högsta grad läsvärd skildring signerad antro- pologen C-J Charpentier. C-J CHARPENTIER Berlin: Stalins öra Berättelser från en gata Stalins öra Omslagsbilden – Walter Womackas hyllning till lärare och utbildning, Haus des Lehrers, Karl-Marx-Allee © C-J Charpentier (2014) Foto: C-J Charpentier Förlag: Läs en bok Anträde Den här boken handlar om en vandring genom östra Berlin en tidig höstdag 2013, från Alt-Friedrichsfelde till Alexanderplatz längs den klassiska Frankfurter Allee, som en gång hette Stalin- allee och som sedan 1961 åter heter Frankfurter Allee i öster, medan den västra delen gavs namnet Karl-Marx-Allee. Det är en fantastisk gata, måhända den mest händelsemättade i Europa, ett stråk där brutal politik möter arkitektur, konst och litteratur. Men också en ”småfolkets inköpsboulevard” ‒ från sent 1800-tal till andra världskrigets bomber. Jag har varit i Berlin ungefär sextio gånger: före muren, under murtiden, natten då muren föll, och under de hittillsvarande åren som återförenad huvudstad. Som antropolog fascineras jag särskilt av den östra halvan, eftersom den – efter die Wende ‒ exemplifierar ett politiskt och ekonomiskt systemskifte, som på olika sätt präglat både människor och stadslandskap; något som jag länge tänkt dokumentera och skriva om.