DOCSLIB.ORG

By Women, for Women

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
By Women, for Women BY WOMEN, FOR WOMEN: CHORAL WORKS FOR WOMEN’S VOICES COMPOSED AND TEXTED BY WOMEN, WITH AN ANNOTATED REPERTOIRE LIST A DOCTORAL DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE DOCTOR OF ARTS IN CHORAL CONDUCTING BY SHELBIE L. WAHL DISSERTATION ADVISOR: DR. DUANE R. KARNA BALL STATE UNIVERSITY MUNCIE, INDIANA JULY 2009 Copyright © 2009 by Shelbie L. Wahl All rights reserved CONTENTS ACKNOWLEDGMENTS...................................................................................................v INTRODUCTION...............................................................................................................1 Definitions ....................................................................................................................4 Statement of Purpose ....................................................................................................4 General Delimitations...................................................................................................5 CHAPTER I: REVIEW OF LITERATURE .......................................................................8 Previous Studies............................................................................................................8 Format...........................................................................................................................9 Women in Music: Same vs. Different ..........................................................................9 Women in Music: General Resources ........................................................................12 Women’s Choirs and Choral Music for Women’s Voices .........................................13 Text Selection and the Woman’s Literary Voice........................................................16 CHAPTER II: THE FOCUS OF THIS STUDY: WHY WOMEN? .................................19 Why written for women? ............................................................................................22 Why texted by women? ..............................................................................................25 Why composed by women?........................................................................................27 CHAPTER III: REPERTOIRE SELECTION FOR WOMEN’S CHORUSES................30 CHAPTER IV: METHODOLOGY AND FORMATTING..............................................37 Creation of Initial Repertoire List...............................................................................37 Acquisition of Printed Music......................................................................................38 Format and Contents Of Annotation Entries ..............................................................39 CHAPTER V: ANNOTATED LIST OF REPERTOIRE .................................................47 The Annotations..........................................................................................................47 CHAPTER VI: SUMMATION AND CONCLUSION ..................................................205 APPENDIXES.................................................................................................................209 APPENDIX A: Contact Information for Publishing Companies and Composers....209 APPENDIX B: Initial List of Women Composers Considered for this Study .........212 APPENDIX C: Rubric for Determining Difficulty Level of Annotated Works.......214 APPENDIX D: Compositions Not Available at the Time of this Study ..................217 APPENDIX E: Additional Women-Supportive Compositions for Further Review.219 iii BIBLIOGRAPHY ...........................................................................................................224 INDEXES OF ANNOTATIONS ....................................................................................230 Index by Composer...................................................................................................230 Index by Composition Title ......................................................................................232 Index by Text Author................................................................................................236 Index by Voicing ......................................................................................................239 Index by Type of Accompaniment ...........................................................................243 Index by Subject Focus.............................................................................................249 iv ACKNOWLEDGMENTS My most heartfelt and personal thanks go first and foremost to my family. To David Wood, who has been my strength and stability through these last few years, and especially so through this dissertation process. His understanding, compassion, daily encouragement, and loving support have kept me focused and true to my goals no matter the obstacles, and have helped make this dissertation, and this degree, a reality. To my maternal grandparents, Jack and Opal Stephens. Both were taken from my life far too soon, but the lessons they taught, the examples they set, and the love they shared, will be with me always. My grandma, Opal, has been with me in spirit for many years, but I am so very thankful that my grandpa, Jack, was able to be a strong presence in my life through the first two years of this doctoral degree; I only wish that he, that they both, would have been able to see this journey to its full realization. And, most importantly, to my parents, Bud and Jama Wahl. They have stood with me and supported me through countless personal, musical, and academic opportunities and journeys – from my first dance and piano lessons to this very moment of writing. Their unending love and encouragement has enabled me to become the musician, the educator, and the woman that I am today – and for that I am grateful beyond measure. In deepest thanks, I dedicate this work to them, to my parents, for all they are, and all they have inspired me to be. v The members of my dissertation committee – Dr. Duane Karna, Dr. Jill Burleson, Dr. Linda Pohly, Dr. Thalia Mulvihill, and Dr. Kimberly Inks – have given of their time and expertise for the betterment of this project, and I thank them for their contribution and support. I am especially grateful for the assistance of Dr. Burleson and Dr. Pohly, and for all of their guidance throughout this process. I also owe a great deal of thanks to Lisa Walz, a graduate colleague at Ball State, for her tireless help in editing this work. I would be remiss if I did not mention the women of the Ball State University Women’s Chorus, 2006-2009, as my experience in conducting that ensemble was the initial impetus for this dissertation topic. This amazing group of women has, over the last three years, been the ‘test-group’ for many new selections that have since become a part of this research endeavor. Their willingness to learn and experience new repertoire has been invaluable. One of the major first steps involved in the research for this study was the obtaining of musical scores that I would later review for possible inclusion in this study. Without the generous support of publishers and composers, this initial step, and likely this whole project, would not have been feasible. I would like to thank the following companies and individuals for their extensive cooperation, with special mention to these first four publishing companies for their substantial support of this research. vi Treble Clef Music Press Santa Barbara Music Publishing earthsongs music Yelton Rhodes Music Alliance Music Publications Alliance Publications Arsis Press Avondale Press Beautiful Star Publishing Brichtmark Music Canasg Music Cantus Quercus Press ECS Publishing Hinshaw Music Hummingbird Press Libby Larsen Publishing Life Mission Press The Musical Source Novello Oxford University Press PeerMusic Classical Schott Music Seafarer Press Songtalk Publishing Sound Music Publications Subito Music Corporation Wendigo Music Elizabeth Alexander Josefina Benedetti Abbie Betinis Stefania de Kenessey Edie Hill Sheena Phillips Claudia Howard Queen Anna Rubin Jennifer Stasack Naomi Stephan Joan Szymko Janika Vandervelde Dawn Willis Additional funding was made possible through the ASPiRE grant program, administered by the Office of Sponsored Programs at Ball State University. vii INTRODUCTION The commitment to the message transcends the notes and rhythms and becomes spirit. This whole process speaks to the concerns Sophie Drinker expressed in the 1930s. It is the commitment to search for and successfully secure outstanding choral repertoire because women’s choral ensembles demand original works with craft, texts that engage and embody women’s ways of knowing, expressly written for women’s voices. –Catherine Roma, “Women’s Choral Literature: Finding Depth”1 As a conductor of women’s choral ensembles, I have a direct interest in the programming of literature for women’s voices. When first given the opportunity to work with a women’s ensemble, my instinct was to search out resources on the available choral repertoire, and to familiarize myself with the standard works. As I explored repertoire choices, however, I noticed that the vast majority of literature readily available for women’s voices was written by male composers. Of the two standard publications listing women’s choral literature, Locke and Fassett’s Selected List of Choruses for Women’s Voices, and Burnsworth’s Choral Music for Women’s Voices, less than five percent of the annotated compositions were
Load more

Recommended publications
  • 'The Performing Pitch of William Byrd's Latin Liturgical Polyphony: a Guide
    The Performing Pitch of William Byrd’s Latin Liturgical Polyphony: A Guide for Historically Minded Interpreters Andrew Johnstone REA: A Journal of Religion, Education and the Arts, Issue 10, 'Sacred Music', 2016 The choosing of a suitable performing pitch is a task that faces all interpreters of sixteenth- century vocal polyphony. As any choral director with the relevant experience will know, decisions about pitch are inseparable from decisions about programming, since some degree of transposition—be it effected on the printed page or by the mental agility of the singers—is almost invariably required to bring the conventions of Renaissance vocal scoring into alignment with the parameters of the more modern SATB ensemble. To be sure, the problem will always admit the purely pragmatic solution of adopting the pitch that best suits the available voices. Such a solution cannot of itself be to the detriment of a compelling, musicianly interpretation, and precedent for it may be cited in historic accounts of choosing a pitch according to the capabilities of the available bass voices (Ganassi 1542, chapter 11) and transposing polyphony so as to align the tenor part with the octave in which chorale melodies were customarily sung (Burmeister 1606, chapter 8). At the same time, transpositions oriented to the comfort zone of present-day choirs will almost certainly result in sonorities differing appreciably from those the composer had in mind. It is therefore to those interested in this aspect of the composer’s intentions, as well as to those curious about the why and the wherefore of Renaissance notation, that the following observations are offered.
    [Show full text]
  • Chapter, District, Region, and National Student Auditions
    Chapter, District, Region, and National Student Auditions The National Student Auditions begin at the regional level and progress to the national preliminary round, semifinal round and final round. Regional auditions should offer all of the categories contained in the “Category, Repertoire, Age, and Time Requirements” section of this document. In order to ensure across the board fairness and appropriate rigor to the National Student Auditions, Regions may only advance singers to NSA categories from a regional audition. Exceptions to this regulation must be approved by the NSA Coordinator, VP of Auditions, and NATS Executive Office staff. Winners of Chapter or District auditions may not be automatically advanced to the National Student Auditions. Conference Year Only – Hall Johnson Spiritual Category Due to the generosity of the Hall Johnson Estate, a $2000 award will be given in each national conference year (even-numbered years) to the best performance of a Hall Johnson Spiritual for the conferences from 2016--2036. All interested performers will apply for this category as part of regional student auditions with the top five regional singers advancing to the NSA rounds, as with all other categories. Chapters are also eligible and encouraged to add this competition to chapter auditions. Where applicable, Chapter auditions serve as qualifying rounds for advancement into region auditions. Complete information including a catalog of works and links to publications related to this special category is available at www.nats.org Category Length of Study Age limit Time Repertoire Hall Johnson Undergraduate age 17-23 10-12 Three contrasting selections from Hall Johnson minutes spiritual repertoire.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles An
    UNIVERSITY OF CALIFORNIA Los Angeles An Introductions to the Art of Singing Italian Baroque Opera: A Brief History and Practice A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts in Music by Gloria Chu Young Chung-Ahn 2015 ABSTRACT OF THE DISSERTATION An Introductions to the Art of Singing Italian Baroque Opera: A Brief History and Practice by Gloria Chu Young Chung-Ahn Doctor of Musical Arts in Music University of California, Los Angeles, 2015 Professor Michael E. Dean, Chair At the start of this dissertation, my original intention was to offer insight into performance practices of opera in the late baroque period in the form of a guide to young singers. As I delved into this subject matter, I began to realize how much this subject could not be understood until the singer had an understanding of the beginnings of baroque music pertaining to its considerable historical significance in the development of opera as well as its overall perceived styles. The term baroque, in itself, has caused much confusion for those in academia ii and more so to students who endeavor to recreate an authentic baroque sound and performance. Upon evaluating my own understanding of baroque music and its reaches into the operatic art form, I decided to include in this dissertation an abridged history of the baroque period such as terms and ideas that every young musician should be familiar with, as well as contributions to baroque opera of famous composers and singers, whose names became synonymous with the term Baroque.
    [Show full text]
  • Radio Starz Karaoke Song Book
    Radio Starz Karaoke Songs by Artist Karaoke Shack Song Books Title DiscID Title DiscID Aerosmith Barenaked Ladies Angel RSZ613-12 What A Good Boy RSZ604-11 Baby, Please Don't Go RSZ613-01 When I Fall RSZ604-09 Back In The Saddle RSZ613-16 Beatles, The Big Ten Inch Record RSZ613-13 All You Need Is Love RSZ623-08 Cryin' RSZ613-17 And I Love Her RSZ623-06 Dream On RSZ613-04 And Your Bird Can Sing RSZ622-17 Dude (Looks Like A Lady) RSZ613-06 Another Girl RSZ621-16 I Don't Want To Miss A Thing RSZ613-10 Back In The USSR RSZ622-02 Jaded RSZ613-07 Birthday RSZ622-05 Janie's Got A Gun RSZ613-14 Can't Buy Me Love RSZ622-09 Last Child RSZ613-03 Come Together RSZ621-14 Love In An Elevator RSZ613-09 Day Tripper RSZ621-07 Mama Kin RSZ613-11 Do You Want To Know A Secret RSZ623-11 Same Old Song And Dance RSZ613-15 Don't Let Me Down RSZ623-09 Sweet Emotion RSZ613-05 Eight Days A Week RSZ623-05 Train Kept A Rollin' RSZ613-18 Eleanor Rigby RSZ622-13 Walk This Way RSZ613-08 From Me To You RSZ623-15 What It Takes RSZ613-02 Get Back RSZ622-04 Alanis Morissette Golden Slumbers, Carry That Weight, The End RSZ621-20 All I Really Want RSZ626-13 Good Day Sunshine RSZ621-06 Everything RSZ626-11 Hard Days Night, A RSZ623-03 Forgiven RSZ626-12 Hello Goodbye RSZ622-06 Hand In My Pocket RSZ626-05 Help! RSZ621-04 Hands Clean RSZ626-08 Helter Skelter RSZ622-08 Hands Clean RSZ626-08A Here, There & Everywhere RSZ623-18 Hands Clean RSZ626-08B Hey Jude RSZ622-01 Head Over Feet RSZ626-07 I Feel Fine RSZ622-10 Ironic RSZ626-02 I Saw Her Standing There RSZ621-01 Precious Illusions
    [Show full text]
  • DAN KELLY's Ipod 80S PLAYLIST It's the End of The
    DAN KELLY’S iPOD 80s PLAYLIST It’s The End of the 70s Cherry Bomb…The Runaways (9/76) Anarchy in the UK…Sex Pistols (12/76) X Offender…Blondie (1/77) See No Evil…Television (2/77) Police & Thieves…The Clash (3/77) Dancing the Night Away…Motors (4/77) Sound and Vision…David Bowie (4/77) Solsbury Hill…Peter Gabriel (4/77) Sheena is a Punk Rocker…Ramones (7/77) First Time…The Boys (7/77) Lust for Life…Iggy Pop (9/7D7) In the Flesh…Blondie (9/77) The Punk…Cherry Vanilla (10/77) Red Hot…Robert Gordon & Link Wray (10/77) 2-4-6-8 Motorway…Tom Robinson (11/77) Rockaway Beach…Ramones (12/77) Statue of Liberty…XTC (1/78) Psycho Killer…Talking Heads (2/78) Fan Mail…Blondie (2/78) This is Pop…XTC (3/78) Who’s Been Sleeping Here…Tuff Darts (4/78) Because the Night…Patty Smith Group (4/78) Ce Plane Pour Moi…Plastic Bertrand (4/78) Do You Wanna Dance?...Ramones (4/78) The Day the World Turned Day-Glo…X-Ray Specs (4/78) The Model…Kraftwerk (5/78) Keep Your Dreams…Suicide (5/78) Miss You…Rolling Stones (5/78) Hot Child in the City…Nick Gilder (6/78) Just What I Needed…The Cars (6/78) Pump It Up…Elvis Costello (6/78) Airport…Motors (7/78) Top of the Pops…The Rezillos (8/78) Another Girl, Another Planet…The Only Ones (8/78) All for the Love of Rock N Roll…Tuff Darts (9/78) Public Image…PIL (10/78) My Best Friend’s Girl…the Cars (10/78) Here Comes the Night…Nick Gilder (11/78) Europe Endless…Kraftwerk (11/78) Slow Motion…Ultravox (12/78) Roxanne…The Police (2/79) Lucky Number (slavic dance version)…Lene Lovich (3/79) Good Times Roll…The Cars (3/79) Dance
    [Show full text]
  • Analyzing Gender Inequality in Contemporary Opera
    ANALYZING GENDER INEQUALITY IN CONTEMPORARY OPERA Hillary LaBonte A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: Jane Schoonmaker Rodgers, Advisor Kristen Rudisill Graduate Faculty Representative Kevin Bylsma Ryan Ebright Emily Pence Brown © 2019 Hillary LaBonte All Rights Reserved iii ABSTRACT Jane Schoonmaker Rodgers, Advisor Gender inequality is pervasive in the world of performing arts. There are far more female dancers, actresses, and singers than there are male performers. This inequality is amplified by fewer numbers of roles for women. This document examines gender inequality in contemporary North American operas, including the various factors that can influence the gender balance of a cast, with focused studies on commissioning organizations and ten works that feature predominantly female casts. Chapter 1 presents the analysis of all operas in OPERA America’s North American Works database written and premiered from 1995 to the present. Of the 4,216 roles in this data, 1,842 (43.6%) are for female singers. Operas written by a female composer or librettist have 48% roles for female singers, operas with a female lead character have 51%, and intentionally feminist or female-focused operas have 53% roles for female singers. Chapter 2 considers ten companies devoted to the creation and production of contemporary opera in North America. Works premiered by these companies have an average of 47% roles for women, and companies with a female executive or founder are more likely to have a higher average. Companies that use language like “innovative” or “adventurous” in their mission statement are more likely to have greater female representation in the casts of their commissioned works.
    [Show full text]
  • The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato Author(S): Roger Freitas Freitas Source: the Journal of Musicology, Vol
    The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato Author(s): Roger Freitas Freitas Source: The Journal of Musicology, Vol. 20, No. 2 (Spring 2003), pp. 196-249 Published by: University of California Press Stable URL: https://www.jstor.org/stable/10.1525/jm.2003.20.2.196 Accessed: 03-10-2018 15:00 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of California Press is collaborating with JSTOR to digitize, preserve and extend access to The Journal of Musicology This content downloaded from 146.57.3.25 on Wed, 03 Oct 2018 15:00:19 UTC All use subject to https://about.jstor.org/terms The Eroticism of Emasculation: Confronting the Baroque Body of the Castrato ROGER FREITAS A nyone who has taught a survey of baroque music knows the special challenge of explaining the castrato singer. A presentation on the finer points of Monteverdi’s or Handel’s art can rapidly narrow to an explanation of the castrato tradition, a justification 196 for substituting women or countertenors, and a general plea for the dramatic viability of baroque opera. As much as one tries to rationalize the historical practice, a treble Nero or Julius Caesar can still derail ap- preciation of the music drama.
    [Show full text]
  • How Vocal Classification Affects Young Singers
    Portland State University PDXScholar University Honors Theses University Honors College 2015 How Vocal Classification Affects Young Singers Anthony Nguyen Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Let us know how access to this document benefits ou.y Recommended Citation Nguyen, Anthony, "How Vocal Classification Affects Young Singers" (2015). University Honors Theses. Paper 134. https://doi.org/10.15760/honors.129 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Anthony Nguyen May 22, 2015 HON 403 Professor Fallon Thesis: How Voice Classification Affects Young Singers Abstract Most young classical singers will encounter different vocal pedagogues with different and sometimes opposing methods. One of the main aspects of training a young singer is deciding what voice type they should train in, a decision that should not made solely by the student or the teacher. There is ambiguity over when and how it is appropriate to classify a young singer's voice type. Some pedagogues recommend forgoing any classification in favor of a more singing foundation-based teaching in early vocal development. Some teachers claim certain vocal exercises will help determine the correct voice type. Other studies have attempted to standardize voice types with use of technology such as the Long term average spectrum or examination of vocal tract lengths. With a better understanding of how voices types are defined and developed, the singer will be better able to proceed with their vocal development with more awareness as to not manipulate, and to potentially damage, their voice.
    [Show full text]
  • Music 18068 Songs, 47.6 Days, 99.18 GB
    Music 18068 songs, 47.6 days, 99.18 GB Name Time Album Artist A. F. U. (Naturally Wired) 4:31 Ou812 Van Halen A.B.C. 3:52 Coolin' At The Playground Ya' Know! Another Bad Creation ABC 2:56 The Ultimate Collection The Jackson 5 Abi Gezundt (A Bee Gezindt) 2:48 The King Of Hi-De-Ho 1934-1937 Cab Calloway Abigail Beecher 2:25 The EP Collection Freddy Cannon Abilene 2:15 Billboard Top Country Hits - 1963 George Hamilton IV About You (Feat. Will.I.Am and Nina Sim... 4:05 The Breakthrough Mary J. Blige Above the Rim 3:38 Hootie Mack Bell Biv DeVoe Abracadabra 3:39 Now That's What I Call The 80s Steve Miller Abracadabra 5:06 Steve Miller Band Abscretions 7:03 Music, Inc. Big Band Music Inc. Absolutely Nothing's Changed 3:43 Twenty Four Seven Tina Turner AC 3e 7:1010000 Days Tool Acapulco 1922 2:42 Definitive Hits Herb Alpert Accidentally In Love 3:09 Shrek 2 Counting Crows Accidently On Purpose 2:23 Best of Vol. 1: Hardcore Honky George Jones According To You (Top 40 Edit) 3:20 Promo Only Mainstream Radio December Orianthi Ace in the Hole 2:35 50 Number Ones Disc 1 George Strait Ace in the Hole 5:44 One Trick Pony Paul Simon Ace Of Hearts 3:06 Here In The Real World Alan Jackson Achilles Last Stand 10:23 Boxed Set [Disc 3] Led Zeppelin Achilles Last Stand 10:23 Boxed Set [Disc 3] Led Zeppelin Aching, Breaking, Heart 2:49 Best of Vol.
    [Show full text]
  • A Choral Organizational Structure for the Developing Male Singer
    A CHORAL ORGANIZATIONAL STRUCTURE FOR THE DEVELOPING MALE SINGER DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Bevan T. Keating, B.M., M.M. ***** The Ohio State University 2004 Dissertation Committee: Approved by Dr. Hilary Apfelstadt, Adviser Professor Richard Blatti ___________________ Adviser Dr. Jere Forsythe School of Music Professor Marshall Haddock Copyright by Bevan T. Keating 2004 ABSTRACT The purpose of this study was to propose an organizational model that would enable a community boy choir organization to provide a continuous curriculum of vocal instruction for the male singer at all stages of his vocal development. The proposed organizational structure included four choirs for male singers: the treble training choir; senior treble choir; changing-voice ensemble; and tenor/bass ensemble. The rationale behind the proposed community boy choir organization rested largely on the realization of a changing-voice ensemble for the male adolescent. Based upon data collected from a review of literature and survey of prominent community boychoir programs, the researcher asserted that a choir for the adolescent male was critical to the success of a continuous choral curriculum for the male singer. The changing-voice ensemble would allow the conductor to address the distinctive physiological, psychological and social challenges of the adolescent male within a homogeneous ensemble, ultimately retaining the adolescent throughout
    [Show full text]
  • Harmonic/Melodic Characteristics
    GWYNETH WALKER: AN ANNOTATED BIO-BIBLIOGRAPHY OF SELECTED WORKS FOR MIXED CHORUS D.M.A DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Richard L. Schnipke, B.M.E., M.M. ***** The Ohio State University 2008 Document Committee: Dr. Hilary Apfelstadt, Advisor Approved by: Dr. Russel Mikkelson ______________________________ Professor Richard Blatti Advisor Music Graduate Program Dr. Timothy Gerber Copyright by Richard L. Schnipke 2008 ABSTRACT Gwyneth Walker (b. 1947) is one of the most prolific American choral composers living and writing today, having composed over 150 works for chorus as well as numerous works for solo voice, orchestra, band, chamber ensembles, and other solo instruments. Walker‟s music is truly reflective of the American spirit and has been compared to that of Aaron Copland. Her works are performed frequently by ensembles across the country and have become staples of contemporary choral repertoire. This document serves as a practical guide for choral directors interested in programming Walker‟s music. It surveys all of Walker‟s works for mixed chorus that are categorized as unaccompanied, with piano, and with organ. These ninety-five pieces represent works that choruses could utilize with readily available forces, as most choruses have regular access to an accompanist. The description of the works is presented in the form of an annotated bibliography and includes information pertaining to vocal ranges, vocal and technical demands, basic musical elements, and difficulty level. The document also includes general and biographical information about Walker, as well as overall musical observations, supplemented by responses gleaned from a conversation between the author and the composer.
    [Show full text]
  • The Silencing of Bel Canto Brianna E Robertson-Kirkland (University of Glasgow)
    eSharp Issue 21: Silenced Voices The Silencing of Bel Canto Brianna E Robertson-Kirkland (University of Glasgow) Introduction The castrato voice is lost to modern ears, but was a significant and influential phenomenon in music history, which continues to fascinate researchers. It has been noted by Katherine Bergeron that „the figure of the castrato offers a kind of chilling embodiment of that truth, a poignant testimony to things that can never be recovered‟, (Bergeron, 1996, p. 167) and yet as Michel Poizat points out „there is every reason to expect that attempts to yield something that may once more conjure up its echo will continue‟ (1992, p. 95). Without the physical embodiment of this voice type, there are many limitations in constructing what the castrato voice may have sounded like, and yet the lasting legacy of the phenomenon is of significant importance to opera due to the dominance of the castrato during the development of the genre and, by extension, the development of vocal education. John Potter has theorised that throughout the 18th century castrati were responsible for the development and cultivation of the art of singing. He further suggests that the loss of the castrato voice and their „irrecoverable skills‟ created the „myth of bel canto‟ (2007, pp. 99). Bel canto is a style of singing that has a number of contradictory definitions and time periods that it encompasses. Rodolfo Celletti in his brief overview of the history of bel canto entitled A History of Bel Canto, describes a resurrection of the bel canto tradition in the 20th century with singers such as Maria Callas (1996).
    [Show full text]