Relevant bibliographies by topics / Lyric singers

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Lyric singers'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Lyric singers"

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Arroabarren, I., M. Zivanovic, J. Bretos, A. Ezcurra, and A. Carlosena. "Measurement of vibrato in lyric singers." IEEE Transactions on Instrumentation and Measurement 51, no. 4 (2002): 660–65. http://dx.doi.org/10.1109/tim.2002.803082.

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Sari, Hernovianti Puspa, Neng Rini Dartini, and Euis Rina Mulyani. "INTERPERSONAL MEANING ANALYSIS OF ADELE’S SONG LYRIC IN 21 ALBUM." PROJECT (Professional Journal of English Education) 2, no. 1 (2019): 94. http://dx.doi.org/10.22460/project.v2i1.p94-101.

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Songs are one of media in language to communicate or deliver a message which created by a songs’ writer through a singer to listeners. Songs is very effective as a media in analyzing systemic functional linguistic, because in song contained two text at once, those are when a singers sing, the song is the spoken text, and the song lyric is the written text. The objective of this study is to describe the aspects of Interpersonal Meaning in the lyric of Adele’s Album 21. The design of the research was descriptive qualitative method. The writers analyzed the a song entitled ”Don’t You Remember” ba
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Scott-Sutherland, Colin. "Thoughts on Ronald Stevenson's MacDiarmid Songs." Tempo, no. 188 (March 1994): 2–9. http://dx.doi.org/10.1017/s004029820004780x.

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There is no more apposite coalescence between Ronald Stevenson the musician and Hugh MacDiarmid the poet than in those lines (a lyric from the long philosophical poem-sequence To Circumjack Cencrastus), which Stevenson set around 1975 as The Song of the Nightingale. There are few singers in today's world, even though there is much left to sing about. But the singer – if he can be found – is of necessity a solitary: an individual (nay an individualist) whose pipings, heard perhaps in Eden, are now all too often swamped in the chaotic noise of what passes in so many areas, not least in music (wh
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Leigh, Steven A. "The Seven Point Circle and the Twelve Principles: An evidence-based approach to Italian Lyric Diction Instruction." Scenario: A Journal for Performative Teaching, Learning, Research XIII, no. 2 (2019): 187–201. http://dx.doi.org/10.33178/scenario.13.2.12.

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Despite the ubiquitousness of Lyric Diction Instructors (LDIrs) in both the academic and professional opera world, there remains a dearth of research examining the approaches and methods used for Lyric Diction Instruction (LDIn) as well the nonexistence of university programmes through which LDIrs gain profession-specific qualifications and/or certifications. Owing to this paucity of LDIn educational background accreditation and accountability, LDIrs in both educational institutions and opera houses are typically comprised of opera coaches, present or former opera singers, or "native speakers"
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Rizka, Haira. "The Representation of Indonesian Women Migrant Workers in the Lyric of Tarling Ndremayon." JURNAL ARBITRER 7, no. 2 (2020): 128. http://dx.doi.org/10.25077/ar.7.2.128-135.2020.

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This research aims to: (1) identify the semantic meaning of Tarling Ndremayon lyric, representing, representing the life of TKW, and (2) social factors that trigger TKW’s life representation in the Tarling Ndremayon songs. The subjects of this research were six Tarling Ndremayon songs. The data were collected through a note-taking technique and interview. The collected data were then analyzed by employing textual analysis. The research findings show that Tarling Ndremayon lyrics that represent the life of TKW narrate five semantic meanings, such as affliction, sacrifice, loneliness, poverty, a
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Ammirante, Paolo, and Fran Copelli. "Vowel Formant Structure Predicts Metric Position in Hip-hop Lyrics." Music Perception 36, no. 5 (2019): 480–87. http://dx.doi.org/10.1525/mp.2019.36.5.480.

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In order to be heard over the low-frequency energy of a loud orchestra, opera singers adjust their vocal tracts to increase high-frequency energy around 3,000 Hz (known as a “singer's formant”). In rap music, rhymes often coincide with the beat and thus may be masked by loud, low-frequency percussion events. How do emcees (i.e., rappers) avoid masking of on-beat rhymes? If emcees exploit formant structure, this may be reflected in the distribution of on- and off-beat vowels. To test this prediction, we used a sample of words from the MCFlow rap lyric corpus (Condit-Schultz, 2016). Frequency of
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Peritz, Jessica Gabriel. "Orpheus's Civilising Song, or, the Politics of Voice in Late Enlightenment Italy." Cambridge Opera Journal 31, no. 2-3 (2019): 129–52. http://dx.doi.org/10.1017/s0954586719000168.

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AbstractThis article explores new conceptions of voice in late eighteenth-century Italy as expressed in discourses connected with opera reform. Inspired by the convergence of Enlightenment epistemologies of feeling and neoclassical aesthetics, certain progressive singers and literati sought to rebrand the singing voice as an agent of moral and political edification. Here, this ideology-laden project is traced through two conflicting representations of singer-poets, both of whom wield the power of lyric song to achieve political ends. First, the article unpacks Giuseppe Millico's narrative of h
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Muller, Matthias, Thilo Schulz, Tatiana Ermakova, and Philipp P. Caffier. "Lyric or Dramatic - Vibrato Analysis for Voice Type Classification in Professional Opera Singers." IEEE/ACM Transactions on Audio, Speech, and Language Processing 29 (2021): 943–55. http://dx.doi.org/10.1109/taslp.2021.3054299.

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White, Kimberly. "Female Singers and the maladie morale in Parisian Lyric Theaters, 1830-1850." Women and Music: A Journal of Gender and Culture 16, no. 1 (2012): 57–85. http://dx.doi.org/10.1353/wam.2012.0027.

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Gunawan, Septia Tri, Didin Nuruddin Hidayat, Alek Alek, and Nida Husna. "Figurative language used in Blackpink featuring Selena Gomez's song lyric "Ice Cream": A discourse analysis." Journal of Applied Studies in Language 5, no. 1 (2021): 1–9. http://dx.doi.org/10.31940/jasl.v5i1.2281.

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A pop song is one of the popular genres widespread in society. The label 'popular' is used as it covers a diverse range of masses, started from pre-dominantly youth to adult, that target them as the market. To the extent of the popular meaning, a song is supported with alluring music video clips, entertaining musical instruments, and lyrics that make an addiction by turning the repeat mode on a music player. Regardless, no all of the songs carried by singers incorporate lyric meanings of what they indeed seem. They thus frequently embed figurative features of the language to fit the context of
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Dissertations / Theses on the topic "Lyric singers"

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de, Jong Susan Johanna. "The Art Of Lyric Improvisation: A Comparative Study of Two Renowned Jazz Singers." Thesis, University of Canterbury. School of Music, 2008. http://hdl.handle.net/10092/1666.

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This research is an analysis of the range of skills and knowledge required to produce, effectively, results in the Art of Lyric Improvisation in the field of jazz singing. Lyric Improvisation is the art of retaining the primary lyrics of a song but, using improvisational inventiveness, changing every other aspect. The study focuses on the manipulation of melody, rhythm, time feel, style, range, articulation and improvisation in the performances of renowned jazz vocalists Sarah Vaughan and Carmen McRae. The research is based on their multiple recordings of "Sometimes I'm Happy" (Youmans/Caesar
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Paver, Barbara E. "Reconsidering Language Orientation for Undergraduate Singers." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1258478129.

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Mahaney, Cynthia Lynn. "Diction for singers a comprehensive assessment of books and sources /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148931700.

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Kayes, Gillyanne. "How does genre shape the vocal behaviour of female singers? : empirical studies of professional female singing in western lyric and contemporary commercial music genres." Thesis, UCL Institute of Education (IOE), 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.690905.

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Flaborea, Camila. "O desenvolvimento do cantor lírico numa abordagem de base psicanalítica: reflexões sobre uma proposta de trabalho." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/15612.

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Made available in DSpace on 2016-04-28T20:39:31Z (GMT). No. of bitstreams: 1 Camila Flaborea.pdf: 1293425 bytes, checksum: 8974341254674ec69a42dbed8adfc86b (MD5) Previous issue date: 2007-08-24<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico<br>My intention in writing this paper is to reflect about a proposal of work with lyric singers that attaches the artistic development to the personal development. The presented approach has a psychoanalytic basis, especially founded on the English Middle Group. The theoretical references, besides Freud, are Michael Balint and Hans L
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Bishop, Julie Snyder. "An American Singer's Guide to Swedish Lyric Diction." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/66359.

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Music Performance<br>D.M.A.<br>Swedish art song is seldom performed in its original language by American singers, despite Sweden's long and notable history of internationally recognized native classical singers who have introduced Swedish song to American audiences. These songs appear to be deserving of consideration for several reasons. First, the works of many Swedish song composers have been acclaimed by both performers and scholars. Second, American musicians perform and study works composed by the mainstream European peers of numerous Swedish song composers. Third, Swedish song is perform
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Dunham, Phyllis M. "The People's Poets: Literature Born of the Texas Singer-Songwriter Movement of the Last Forty Years." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2212.

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The People’s Poets of Texas: Literature Born Within the Singer/Songwriter Tradition of the Last Forty Years is a creative nonfiction exploration of the poetry found within the songs of multiple generations of modern Texas singer/songwriters and a case for the consideration of their work as a genuine regional literature. Studying the roots of Texas music, the musicality of Texan manners of speech and storytelling, and re-examining the Austin, Texas music scene of the 1970s that brought a national focus to the organic, reciprocal manner in which Texas music is traditionally experienced, radicall
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Blackmore, Sabine. "In soft Complaints no longer ease I find." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2015. http://dx.doi.org/10.18452/17176.

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Diese Dissertation untersucht die verschiedenen Konstruktionen poetischer Selbstrepräsentationen durch Melancholie in Gedichten englischer Autorinnen des frühen 18. Jahrhunderts (ca. 1680-1750). Die vielfältigen Gedichte stammen von repräsentativen lyrischer Autorinnen dieser Epoche, z.B. Anne Wharton, Anne Finch, Elizabeth Singer Rowe, Henrietta Knight, Elizabeth Carter, Mary Leapor, Mary Chudleigh, Mehetabel Wright und Elizabeth Boyd. Vor einem ausführlichen medizinhistorischen Hintergrund, der die Ablösung der Humoralpathologie durch die Nerven und die daraus resultierende Neupositionierung
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De, Jong S. J. "The art of lyric improvisation : a comparative study of two renowned jazz singers : a thesis in partial fulfilment of the requirements for the degree of Masters of Music in the University of Canterbury /." 2008. http://hdl.handle.net/10092/1666.

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Levitsky, Anne Adele. "The Song from the Singer: Personification, Embodiment, and Anthropomorphization in Troubadour Lyric." Thesis, 2018. https://doi.org/10.7916/D80G52JR.

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This dissertation explores the relationship of the act of singing to being a human in the lyric poetry of the troubadours, traveling poet-musicians who frequented the courts of contemporary southern France in the twelfth and early thirteenth centuries. In my dissertation, I demonstrate that the troubadours surpass traditionally-held perceptions of their corpus as one entirely engaged with themes of courtly romance and society, and argue that their lyric poetry instead both displays the influence of philosophical conceptions of sound, and critiques notions of personhood and sexuality privileged
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Books on the topic "Lyric singers"

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Hunt, John. The lyric baritone: Reinmar, Hüsch, Metternich, Uhde, Wächter. [J. Hunt], 1997.

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Fortissimo: Backstage at the opera with sacred monsters and young singers. Three Rivers Press, 2005.

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Fortissimo: Backstage at the opera with sacred monsters and young singers. Crown, 2005.

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Hunt, John. Tenors in a lyric tradition: Peter Anders, Walther Ludwig, Fritz Wunderlich : discographies compiled by John Hunt with valuable assistance from Clifford Elkin. J. Hunt, 1996.

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Hopper, Lawrence. Bob Nolan: A biographical guide and annotations to the lyric archive at the University of North Carolina at Chapel Hill. Paul Lawrence Hopper, 2000.

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Maʻbad al-Mughannī: Siyaruhu wa-al-ashʻār allatī taghanná bi-hā wa-siyar aṣḥābihā : aʻadda talḥīnātihā ʻalá uṣūl tajnīsātihā al-qadīmah ibtidāʼan ʻan Kitāb "al-aghānī" li-Abī al-Faraj al-Iṣfahānī. al-Majlis al-Aʻlá lil-Thaqāfah, 2009.

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Dérose, Ansy. Ansy Dérose: Immortel : dix ans après--. Les Productions Yole Dérose, 2008.

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Castel, Nico. A singer's manual of Spanish lyric diction. Excalibur Pub., 1994.

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Koert, Dorothy. The lyric singer: A biography of Ella Higginson. Center for Pacific Northwest Studies & Fourth Corner Registry, 1985.

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Copyright Paperback Collection (Library of Congress), ed. Lyrics of love. Kensington Pub. Corp., 1998.

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Book chapters on the topic "Lyric singers"

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"Bucolic Singers of the Short Song: Lyric and Elegiac Resonances in Theocritus’ Bucolic Idlls." In Brill's Companion to Greek and Latin Pastoral. BRILL, 2006. http://dx.doi.org/10.1163/9789047408536_003.

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"Working with Lyrics." In Stage Performance for Singers. Jenny Stanford Publishing, 2018. http://dx.doi.org/10.1201/9780429428692-14.

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Michael, John. "Whitman and Democracy: The “Withness of the World” and the Fakes of Death." In Secular Lyric. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279715.003.0005.

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Extending the reading of metonymy in the previous chapter to enchain the figure of the reader as the future presence of Whitman’s poem, this chapter also considers Whitman’s vexed relationship to particularity and to the ethics of democracy in a secular age. I argue that this remains an ethics of alterity not identity, an ethics of the surface and of the limits that surfaces pose when considering alterity. Whitman emerges as the poet of democratic problematics rather than the simple singer of democracy or the word en masse. The modernity of his voice emerges in his consistent refusal to allow meaning to reduce alterity, an alterity that in a secular age is the primary fact of what William James called the withness of life.
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"One Singer’s Formulaic Tradition: The Repertoire of Garfield Akers." In The Blues Lyric Formula. Routledge, 2013. http://dx.doi.org/10.4324/9780203724583-11.

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Crist, Stephen A. "Music and Lyrics." In Dave Brubeck's Time Out. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190217716.003.0007.

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Although Time Out is a purely instrumental album, several of its cuts either originated as songs or later were supplied with words. Two singers—Claude Nougaro in the 1960s and Al Jarreau in the 1970s and 1980s—rose to fame largely on the basis of their vocal renditions of tunes from Time Out. This chapter examines the interplay between music and lyrics in the origins and history of these numbers. It begins with examination of the interdependence of “Everybody’s Jumpin’ ” and “Everybody’s Comin’ ” (the latter a song from The Real Ambassadors). The vocal versions of “Strange Meadow Lark” and “Take Five,” with lyrics by Dave and Iola Brubeck, and their recordings by Carmen McRae, are considered next. The chapter concludes with discussion of Nougaro’s “À bout de souffle” and “Le jazz et la java,” and Jarreau’s “(Round, Round, Round) Blue Rondo à la Turk” and “Take Five.”
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Looseley, David. "Inventing la Môme." In Édith Piaf. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781382578.003.0002.

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The chapter begins with a brief biography of Piaf’s early years as a singer but focuses primarily on how the Piaf myth—the imagined Piaf that France and the world would come to know--was invented. The process of invention was the work initially of Piaf herself, who fabricated a life story almost from the beginning. But she was soon joined in this task by her first impresario, Raymond Asso, who wrote the lyrics for many of her early songs, and Marguerite Monnot, who composed the music. This team, progressively joined by others, worked together to produce a new iteration of the well-known realist song genre: Piaf’s songs were read through the narratives of the singer’s life, but, at the same time, those narratives were themselves read through the songs. This reciprocal identification between song and life would form the core meaning of Piaf’s stardom.
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"I syke when y singe." In Middle English Marian Lyrics. Medieval Institute Publications, 1999. http://dx.doi.org/10.2307/j.ctv13gvjh6.53.

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"Nu this fules singet and maket hure blisse." In Middle English Marian Lyrics. Medieval Institute Publications, 1999. http://dx.doi.org/10.2307/j.ctv13gvjh6.22.

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Akinro, Ngozi, Emmanuel O. Nwachukwu, and Adaobi V. Duru. "Corruption Sings Loudest." In Advances in Religious and Cultural Studies. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7295-4.ch007.

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In this chapter, the authors used framing analysis to examine the dynamics of music, social media, and politics. Based on framing and impression management theories, this study considers music as a tool to convey political messages and argues that political parties use music to spread positive narratives of their accomplishments to promote themselves and their flag-bearers while using negative narratives to vilify and attempt to delegitimize their opponents. The authors examined the lyrics of two songs, “Change Blues” and “The Truth Blues,” both viral political satires by opposing political parties, and discussed the songs' strong emphasis on corruption in Nigeria and ways in which the political parties attempted to use the songs to encourage political participation and for their image management.
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"Preparation and Beginning of Performance 32. Stage Space Split 93. Body Position and Communication with the Audience 154. Using the Microphone 235. Gestures 416. The Look 617. The Phrase in the Gesture and the Look 718. Working with Lyrics 779. Artistry in the Voice 8710. The Costume 8911. Makeup and Hairstyle 9312. The Bow and Leaving the Stage." In Stage Performance for Singers. Jenny Stanford Publishing, 2018. http://dx.doi.org/10.1201/9780429428692-18.

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