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Soprano

  • Voice Types in Opera

    Voice Types in Opera

  • Treble Voices in Choral Music

    Treble Voices in Choral Music

  • Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600

    Keyboard Playing and the Mechanization of Polyphony in Italian Music, Circa 1600

  • How to Read Choral Music.Pages

    How to Read Choral Music.Pages

  • Voice Types Are Soprano, Mezzo Soprano, Tenor and Baritone

    Voice Types Are Soprano, Mezzo Soprano, Tenor and Baritone

  • Voice Dysphoria and the Transgender and Genderqueer Singer

    Voice Dysphoria and the Transgender and Genderqueer Singer

  • Arnold Schering on “Who Sang the Soprano and Alto Parts in Bach's

    Arnold Schering on “Who Sang the Soprano and Alto Parts in Bach's

  • 'The Performing Pitch of William Byrd's Latin Liturgical Polyphony: a Guide

    'The Performing Pitch of William Byrd's Latin Liturgical Polyphony: a Guide

  • Composing for Classical Voice Voice Types/Fach System

    Composing for Classical Voice Voice Types/Fach System

  • 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

  • Part-Writing Rules.FH9

    Part-Writing Rules.FH9

  • The Mezzo-Soprano Onstage and Offstage: a Cultural History of the Voice-Type, Singers and Roles in the French Third Republic (1870–1918)

    The Mezzo-Soprano Onstage and Offstage: a Cultural History of the Voice-Type, Singers and Roles in the French Third Republic (1870–1918)

  • Contralto: Rossini, Gautier and Gumilyov1

    Contralto: Rossini, Gautier and Gumilyov1

  • Note by Martin Pearlman the Castrato Voice One of The

    Note by Martin Pearlman the Castrato Voice One of The

  • Traditional Vocal Ranges

    Traditional Vocal Ranges

  • Analysing and Understanding the Singing Voice

    Analysing and Understanding the Singing Voice

  • Dispelling Vocal Myths. Part IV: “Talk Higher!”

    Dispelling Vocal Myths. Part IV: “Talk Higher!”

  • Registers—The Snake Pit of Voice Pedagogy PART 1: PROPRIOCEPTION, PERCEPTION, and LARYNGEAL MECHANISMS

    Registers—The Snake Pit of Voice Pedagogy PART 1: PROPRIOCEPTION, PERCEPTION, and LARYNGEAL MECHANISMS

Top View
  • THE CASTRATO SACRIFICE: WAS IT JUSTIFIED? Jennifer Sowle, B.A
  • Cross Gender Roles in Opera
  • Castrati Singers and the Lost "'Cords"9 Meyer M
  • Registration Strategies of Professional Operatic Mezzo-Sopranos D.M.A
  • An Approach for Vocal Register Recognition Based on Spectral Analysis of Singing Aleksandra Zysk, Pawel Badura
  • Mozart's "Mezzos": a Comparative Study Between Castrato and Female Roles in Mozart's Operas
  • Vocal Health and Repertoire for the Dramatic Mezzo-Soprano
  • DISTRICT WINNERS | As of 12.30.2020 in CHRONOLOGICAL ORDER
  • Defining the Contralto Voice Through the Repertoire of Ralph Vaughan
  • Voice Range Tests
  • 3212009.PDF (3.767Mb)
  • Magic Flute Voice Types
  • Voice Types of Opera Villains: Collaborative Study of Vocal Tessituras of Villains and Heroes in Opera Michael Cantrell University of Nebraska at Kearney
  • Glottal Behavior in the High Soprano Range and the Transition to The
  • Of Balletts to ,Five Voices: Balletts to Five Voices Remains Largely Unknown to Many Choral Musicians
  • Application of Vocal Fry to the Training of Singers
  • IDENTIFICATION of THREE NATURAL VOICE GROUPS by PHONETOGRAPHY a Data Driven Approach
  • Writing a Bass Line for a Given Soprano 1. Determine Cadences. 2. Determine If a Predominant Is Involved with the Cadence. 3. Pl


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