Relevant bibliographies by topics / Singerie (Art)

Contents

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

Academic literature on the topic 'Singerie (Art)'

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

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Singerie (Art).'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Singerie (Art)"

1

Strzemecka, Joanna. "Idea twórczości i figura artysty w singeries Davida Teniersa Młodszego, Antoine’a Watteau i Jeana Chardina." Artifex Novus, no. 4 (March 9, 2021): 194–205. http://dx.doi.org/10.21697/an.7931.

Full text
Abstract:
Niniejszy artykuł prezentuje problematykę artystycznego naśladownictwa na przykładzie przedstawień małp jako malarzy, rzeźbiarzy i koneserów sztuki, autorstwa Davida Teniersa Młodszego, Antoine’a Watteau i Jeana Chardina. Sceny te należały do gatunku satyrycznych przedstawień funkcjonujących w języku francuskim pod nazwą singerie (fr. singe - małpa, singerie - dosł. małpiarnia), ukazujących małpy podczas parodiowania przeróżnych ludzkich czynności. Niekwestionowanym mistrzem gatunku stał się flamandzki malarz David Teniers Młodszy, który spopularyzował temat małp w rolach artystów, a za nim, prawie stulecie później, podążyli Antoine Watteau i Jean Chardin. Skłonności naśladowcze, przypisywane małpie od starożytności, zaowocowały skojarzeniem zwierzęcia z mimetyczną rolą sztuki, a dosłownym wyrazem tej analogii stała się metafora ars simia naturae (sztuka małpą natury). Singeries wymienionych twórców nie tylko nawiązują do toposu naśladowania rzeczywistości, ale i przewrotnie go przekształcają w charakterystyczny dla tego tematu, ironiczny sposób. Małpa uwikłana zostaje w toczące się od czasów renesansu spory teoretyczno-artystyczne, których omawiane przedstawienia stanowią niejako kontynuację. Za pośrednictwem zwierzęcia artyści dotykają problemu imitatio i inventio, co w przypadku Watteau i Chardina przyjęło formę sprzeciwu wobec tendencji akademickich. Te, na pozór jedynie zabawne przedstawienia, niosą ze sobą znaczenie o wiele poważniejsze – poruszają kwestie oryginalności i artystycznej tożsamości. Podobnie jak sztuka „małpowała” naturę, tak dla malarzy małpa stała się ich alter ego, dlatego w artykule zaznaczony został także kontekst autoportretu. Summary: This article presents the issue of artistic imitation on the example of monkeys that are depicted as painters, sculptors and art connoisseurs by David Teniers the Younger, Antoine Watteau and Jean Chardin. These scenes were a part of a visual art genre called singerie. The name has been given from French word singe – monkey, ape. Although the practise dates back to medieval drôlerie, their greatest popularity in European art fell in the 17th and 18th century. The depictions of monkeys imitating human behaviours were a perfect parody of human nature, not only in a moral way, but also in connection with creativeness. The Flemish painter David Teniers the Younger popularised the subject of the artist as an ape. This tradition was subsequently adopted by Antoine Watteau and Jean Chardin in France. The monkey was an important symbol of imitation. In result, this meaning of an animal was associated with the art imitating reality and the expression of this analogy was the metaphor ars simia naturae (art is an ape of nature). The singeries of the mentioned artists refer to the topos of imitating nature and have strong historical significance that continues the aesthetics discussions about the mimetic role of art. These, apparently funny depictions, carry much more serious meaning – emphasize the questions of originality and artistic identity. Like an art „apes” nature that the monkey became an alter ego of the painters.
APA, Harvard, Vancouver, ISO, and other styles
2

Mullier, Sébastien. "Un singe à Cythère : Verlaine et la fête galante." Études françaises 51, no. 3 (November 30, 2015): 53–75. http://dx.doi.org/10.7202/1034131ar.

Full text
Abstract:
Banville déclarait dans Odes funambulesques : « Il ne serait pas impossible d’imaginer une nouvelle langue comique versifiée, appropriée à nos moeurs et à notre poésie actuelle, et qui procéderait du véritable génie de la versification française en cherchant dans la rime elle-même ses principaux moyens comiques. » De la peinture de Watteau à sa critique d’art, notre ambition est de montrer comment, pour Verlaine, cette entreprise anachronique et donc ironique qu’est la composition d’une fête galante en plein xixe siècle s’inscrit dans la continuité d’un art identifié comme spécifiquement français et spirituel, mais aussi d’un genre humoristique des arts décoratifs : de Watteau et du xviiie siècle, Verlaine a peut-être moins pris pour modèle la fête galante que la singerie, cette peinture grotesque et rocaille où abondent singes musiciens, singes peintres et singes funambules. En plaçant le singe lascif de « Cortège » au centre d’une étude de Fêtes galantes, nous tentons d’étudier comment Verlaine a rêvé la pratique de la versification française comme la gestuelle comique, équivoque et sensuelle d’un singe funambule. Nous nous efforçons de définir les enjeux secrets de pratiques chères à un poète dont Lepelletier notait la physionomie « babouinesque » : certes la rime mais aussi l’autoparodie, cette manière de se singer soi-même. Nous inscrivons le parti rocaille de Fêtes galantes dans un débat historique contre le modèle hugolien et romantique des héritiers de 1793 : nous érigeons ainsi le singe verlainien en figure du fondement de l’Art pour l’Art, ce qu’Edgar Poe avait appelé « principe poétique ».
APA, Harvard, Vancouver, ISO, and other styles
3

De La Cruz-Fernández, Paula A. "Marketing the Hearth: Ornamental Embroidery and the Building of the Multinational Singer Sewing Machine Company." Enterprise and Society 15, no. 03 (September 2014): 442–71. http://dx.doi.org/10.1017/s1467222700015949.

Full text
Abstract:
This study examines the Singer Sewing Machine Company’s strategies for selling family sewing machines on a global scale. In marketing the sewing machine, the American-headquartered Singer focused on ornamental embroidery or “fancy” sewing, defining home sewing as art, to distance the company and the appliance from negative perceptions of women’s garment work as industrial manufacturing. Singer created its Embroidery Department in the early 1890s in response to consumers’ sewing preferences. The department reflects how the home became a site where global capitalism was constructed and articulated. Singer’s Embroidery Department had representatives in many countries, coordinating expositions and other advertising. In the case of Singer in Spain and the United States, women who took part in the department’s work were an essential part of the corporate-integrated operation. This article examines the relationship between Singer’s corporate strategies and gender and culture in Spain and the United States.
APA, Harvard, Vancouver, ISO, and other styles
4

Asare, Masi. "The Black Broadway voice: calls and responses." Studies in Musical Theatre 14, no. 3 (December 1, 2020): 343–59. http://dx.doi.org/10.1386/smt_00047_7.

Full text
Abstract:
Black musical theatre artists in New York City share and theorize their experiences with industry expectations around racialized vocal performance. Musical director John Bronson, actor/singer Jamal James, composer/music director Dionne McClain-Freeney, composer/writer Khiyon Hursey, actor/singer Rheaume Crenshaw, actor/singer/voice teacher Elijah Caldwell, and actor/singer Zonya Love Johnson comprise the group. The artists grapple with the conundrum of sounding ‘Black enough’, how the demand for uniform Black vocalization confounds historical accuracy in period shows, and the fantasy of the generic, idealized ‘Black Broadway voice’. The group details unspoken, misguided industry assumptions that Black singers do not produce multiple kinds of belt sounds, do not use the vocal mix sound, and sing only in a heavy (power) sound virtuosically ornamented with riffs that evokes for (white) listeners a misleadingly monolithic idea of ‘the Black church’. As these artists point out, ‘We do not all go to the same church’; in fact, the ability to fluidly move between more classical (legit) and gospel vocal sounds may actually arise from a singer’s training in the church choir. Collectively these artists have worked on multiple Broadway and off-Broadway shows from The Color Purple to Hamilton and A Strange Loop, major tours and regional productions of shows such as Hair, Ain’t Misbehavin’, and Waitress, and hold songwriting credits from the prestigious BMI musical theatre writing workshop to Netflix. This conversation took place in October 2019.
APA, Harvard, Vancouver, ISO, and other styles
5

Kochetkova, Ulyana E. "PHONETIC ENVIRONMENT EFFECT ON /R/ ARTICULATION IN FRENCH SUNG SPEECH." Theoretical and Applied Linguistics, no. 1 (2017): 16–27. http://dx.doi.org/10.22250/2410-7190_2017_3_1_16_27.

Full text
Abstract:
This study analyses occurrence of the uvular and alveolar /r/ in French sung speech; its material includes Art Songs written by French composers of the late 19th - early 20th century. At the first stage of this study the uvular consonant occurrence in different age groups of singers is compared, the main /r/_articulation model is considered for every singer. Then deviations from the alveolar articulation model, i. e. changes to the uvular /r/, are analyzed in various phonetic environment. The current study's results enable to conclude that (i) most of the alveolar [r] are maintained after the breath pause and before the semivowels, (ii) the uvular articulation exists in the Art Songs interpretation by French operatic singers representing different age groups.
APA, Harvard, Vancouver, ISO, and other styles
6

Elduque, Albert. "Documentary shooting and samba." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 48–66. http://dx.doi.org/10.33178/alpha.19.05.

Full text
Abstract:
This article addresses the film Partido alto (Leon Hirszman, 1976­–1982), a Brazilian music documentary that showcases two sessions of partido-alto, a traditional, improvisation-based genre. The film highlights a separation between the diegetic music world, which is based on improvisation, and the technical approach to register it. First, it foregrounds the process of recording popular music through the noticeable presence of a microphone that strives to follow each singer’s unpredictable interventions. Then, the young professional singer Paulinho da Viola joins in on the performance with nonprofessional singers, working as a mediator between the official music scene and popular traditions. I suggest that, by using cameras and microphones to approximate a popular, nonrecorded form of art, the film raises some crucial issues in the history of samba. In particular, the ways in which cinematic techniques such as the sequence shot and voiceover are employed in the film allows us to reflect on the dichotomy between improvisation and recording, as well as the role of cultural mediators. Paulinho da Viola lies at the centre of these strategies, for he assumes an expert commentator and interviewer role, while also being a participant in the popular community.
APA, Harvard, Vancouver, ISO, and other styles
7

Heisel, Erin. "Empathy as a Tool for Embodiment Processes in Vocal Performance." Empirical Musicology Review 10, no. 1-2 (April 8, 2015): 104. http://dx.doi.org/10.18061/emr.v10i1-2.4601.

Full text
Abstract:
One way of understanding empathy in music performance is as a process by which singers closely identify with the characters they encounter and portray in opera or art song. As singers embody these characters, they literally give them voice. Musical performance thus humanizes characters as well as performers and audiences as deeper, empathetic engagement may also reflect or elicit new pathways of growth, knowledge, and understanding. What is the process a singer goes through in empathizing with a character? How can young singers learn to empathize with the characters they are tasked with portraying, even when they may find the characters or their behavior to fall outside of their own moral convictions?  This paper posits that empathy is a necessary part of the role preparation process for singers and introduces the “role journal” as a way for young singers to track embodiment processes and develop healthy habits of empathy and boundaries in their work.
APA, Harvard, Vancouver, ISO, and other styles
8

Carlson, Allen. "Is Environmental Art an Aesthetic Affront to Nature?" Canadian Journal of Philosophy 16, no. 4 (December 1986): 635–50. http://dx.doi.org/10.1080/00455091.1986.10717140.

Full text
Abstract:
In this discussion I consider one aesthetic issue which arises from certain intimate relationships between art and nature. The background to these relationships can be traced to the seventeenth and eighteenth centuries. It includes factors of considerable importance in the history of the aesthetic appreciation of nature such as the eighteenth century infatuation with landscape gardening and the continuingly influential role of landscape painting. Here, however, I concentrate on these relationships only as exemplified in a contemporary phenomenon – environmental art. By environmental art I mean both the earthworks and earthmarks of artists such as Robert Smithson, Michael Heizer, and Dennis Oppenheim and certain structures on the land such as those of Robert Morris, Michael Singer, and Christo. Some paradigm cases are Smithson's Spiral Jetty (1970), Heizer's Double Negative (1969-70), Singer's Lily Pond Ritual Series (1975), and Christo's Running Fence (1972-76).
APA, Harvard, Vancouver, ISO, and other styles
9

Leibowitz, Uri D. "Moral Deliberation and Ad Hominem Fallacies." Journal of Moral Philosophy 13, no. 5 (September 29, 2016): 507–29. http://dx.doi.org/10.1163/17455243-46810045.

Full text
Abstract:
Many of us read Peter Singer’s work on our obligations to those in desperate need with our students. Famously, Singer argues that we have a moral obligation to give a significant portion of our assets to famine relief. If my own experience is not atypical, it is quite common for students, upon grasping the implications of Singer’s argument, to ask whether Singer gives to famine relief. In response it might be tempting to remind students of the (so-called) ad hominem fallacy of attacking the person advancing an argument rather than the argument itself. In this paper I argue that the “ad hominem reply” to students’ request for information about Singer is misguided. First I show that biographical facts about the person advancing an argument can constitute indirect evidence for the soundness/unsoundness of the argument. Second, I argue that such facts are relevant because they may reveal that one can discard the argument without thereby incurring moral responsibility for failing to act on its conclusion even if the argument is sound.
APA, Harvard, Vancouver, ISO, and other styles
10

Baker, Bruce E., and Betty N. Smith. "Jane Hicks Gentry: A Singer among Singers." Journal of American Folklore 113, no. 448 (2000): 229. http://dx.doi.org/10.2307/541304.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Singerie (Art)"

1

Tuomi, Scott Lawrence. "Finnish art song for the American singer." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/289889.

Full text
Abstract:
Art song teachers are constantly seeking new repertoire for their students. Many countries outside those commonly represented in American vocal studios (for instance Spain and Russia) have rich art song traditions which merit inclusion in the vocal studio. In this era of increased cultural awareness, many other areas of music education are seeking to explore these repertoires. However, many art songs are unable to be utilized because of the lack of resources in this country concerning their acquisition, identification, history, pronunciation and performance. Finland has a vast art song repertoire that is largely unexplored by American singers and teachers for the reasons mentioned above. A relatively new nation, Finland has a rich past which has remained a mystery to the west because of its close connection to the former Soviet Union. In addition, prior to the twentieth century, Finland had been under the control of foreign governments including those of Russia and Sweden since the Middle Ages. This document seeks to identify and examine Finnish art songs while providing background information regarding their history, development, and relevance to Finnish culture. In addition, tools for acquiring and performing Finnish art song are included to facilitate the inclusion of these songs in American vocal studios. Various sections include the development of the art song genre in Finland, the connection of songs to the Finnish national epic, the Kalevala, and a brief examination of the Finno-Ugrian language group. Biographical information is provided for seven selected composers arranged in chronological order. A total of ten songs are analyzed from the selected composers and an English translation is also provided for each. In addition, a collection of appendices providing complete lists of published songs for each composer, a Finnish IPA pronunciation chart, contact information for Finnish music publishers and musical resources and a selected discography are included.
APA, Harvard, Vancouver, ISO, and other styles
2

VanEaton, Sunny F. C. "An investigation of the attitudes of selected professional classical solo singer-actors toward specific concerns of the music profession." Thesis, University of North Texas, 1990. https://digital.library.unt.edu/ark:/67531/metadc332850/.

Full text
Abstract:
The purpose was to investigate attitudes of successful full-time performing classical singer-actors toward career concerns of the music profession. Five research problems were formulated to: (1) describe attitudes toward control of work conditions; (2) describe attitudes toward entrapment; (3) describe attitudes toward dependency; (4) report attitudes concerning current practices of training the solo singer; and (5) identify commonalities among the subjects regarding demographic, the attitudes described in problems one through four, and demeanor during the interviews.
APA, Harvard, Vancouver, ISO, and other styles
3

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.

Full text
Abstract:
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) between the years1955-1965. The method compares different elements of the individual singers' improvisations to the published notation. These elements include: syncopation of the rhythm, motific development, expanding the range of pitch, variances in timbre and articulation and spontaneous re-composition of the melody all while maintaining the original lyric. The outcomes, however, can be applied over a multitude of tunes from any American Song Book composer or jazz standard sung in historically swing styles of the past century, or with contemporary developments.
APA, Harvard, Vancouver, ISO, and other styles
4

Sonbert, Nicole Michelle. "EVALUATING APPROPRIATE REPERTOIRE FOR DEVELOPING SINGERS: AN AFRICAN-AMERICAN ART SONG ANTHOLOGY." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/104.

Full text
Abstract:
Finding appropriate and unique repertoire for the developing singer is a daunting task and ongoing challenge in the teaching profession. There are limited resources to help guide teachers in selecting varied, yet suitable repertoire that falls outside of the standard Western European musical canon. The early years, ages 17–21, are crucial to establishing a healthy and well-rounded vocal approach to singing, while also introducing the student to a wide variety of music. African-American art song is a great option for developing singers. Repertoire should allow a student to grow musically, vocally, and artistically according to the singer’s specific stage of learning and interests. Selecting repertoire through established criteria that considers the student’s personal and cultural interests (in addition to pedagogical needs) allows for a good foundation to support a healthy vocal development. Consideration of numerous elements, such as historical, musical, physical, emotional, and vocal characteristics offers a framework for a comprehensive approach in the selection process. In Literature for Teaching: A Guide for Choosing Solo Vocal Repertoire from a Developmental Perspective, Christopher Arneson provides a wonderful base for further study, and application into repertoire selection. Through the utilization of Arneson’s suggestions, I have created a rubric that quantifies key criteria important to the evaluation of repertoire. Through this rubric, a clear evaluation and assigned difficulty level is provided for each song in the collection. This compilation of songs is only the beginning to a proposed anthology entitled: African-American Art Song for the Developing Singer. Each song offers a historical and pedagogical summary that includes the following: composer and poet biographies, text and translations, basic form, original key and other keys available, performance notes, range, tessitura, suggested voice type, tempo suggestions, difficulty level, and other available editions. This unique anthology of African-American art song offers teachers with a resource that evaluates appropriate repertoire for developing singers, between the ages of 17–21, that is clearly accessible.
APA, Harvard, Vancouver, ISO, and other styles
5

Fairbrother, Trevor J. "John Singer Sargent and America." New York : Garland Pub, 1986. http://catalog.hathitrust.org/api/volumes/oclc/14131401.html.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Kim, Yu-Jin. "How to prepare for foreign art songs : an innovative method for beginning singers /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11221.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Blount, Jennifer Lynn. "The black male nude a study of John Singer Sargent's Thomas McKeller nude within the context of nineteenth-century art and culture /." Birmingham, Ala. : University of Alabama at Birmingham, 2009. https://www.mhsl.uab.edu/dt/2009m/blount.pdf.

Full text
Abstract:
Thesis (M.A.)--University of Alabama at Birmingham, 2009.
Title from PDF title page (viewed Sept. 2, 2009). Degree earned with the cooperation of additional faculty from the University of Alabama. Includes bibliographical references (p. 88-91).
APA, Harvard, Vancouver, ISO, and other styles
8

Forbay, Bronwen M. "Afrikaans Art Song: A Stylistic Study and Performance Guide." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1307322705.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Mowery, Samantha Renee. "Stephen Foster and American Song: A Guide for Singers." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1234810817.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Ciobanu, Jennifer Odom. ""The Wider View": Engaging a New Generation of Singers through African-American Art Song." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31528/.

Full text
Abstract:
Through studying the poetry and its context, the lives of the poets and composers, and the musical choices which emerged from these combined influences, students of the "Millennial" generation may experience a deeper connection to art song and its role in defining and reflecting national character. Not yet a part of the traditional canon of American art song, the songs of African-American composers are of particular value in this regard, offering teachers, students, and recitalists less frequently-performed repertoire to explore. Representing a broad spectrum of literary and cultural influences, these songs are just as diverse, multi-faceted, and full of variety as any other body of art song repertoire and richly contribute to the past and present life of the genre. Going beyond the music and the words can only reinforce the study of technique and enrich the studio experience, while at the same time providing a multicultural learning environment which more accurately reflects the America in which these same students will become the singers and voice teachers of tomorrow.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Singerie (Art)"

1

The monkeys of Christophe Huet: Singeries in French decorative arts. Los Angeles, CA: J. Paul Getty Museum, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Garnier-Pelle, Nicole. Les singeries du château de Chantilly: The monkey rooms. Paris]: Nicolas Chaudun, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Hermine, Cléret, ed. Les singeries. Paris: N. Chaudun, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Anne, Forray-Carlier, Anselm Marie-Christine, and Huet Christophe 1700-1759, eds. Singeries & exotisme chez Christophe Huet. Saint-Rémy-en-l'Eau [France]: Monelle Hayot, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Ann, Blokland, ed. Collectie Singer: Schilderijen. Laren: Het Museum, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Sinatra! the song is you: A singer's art. New York: Scribner, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Sinatra! the song is you: A singer's art. New York: Da Capo Press, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Schrelten, Helen. Loving art: The William & Anna Singer collection. Zwolle: Waanders, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Jean, Woods, Huibregtse Anne Marie 1946-, Huibregtse K, Rijk Agnes de 1941-, Singer Museum, and Washington County Museum of Fine Arts (Md.), eds. Loving art: The William & Anna Singer collection. Laren: Singer, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Beckmans, José. Prisonnier de son art: Mémoires. Paris: Libr. Séguier, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Singerie (Art)"

1

Lopez, Emily, Sang-Hie Lee, Ruth Bahr, Stephanie L. Carey, Brittany Mott, Ashleigh Fults, Matthew Lazinski, and Eun Sook Kim. "Breathing Techniques in Collegiate Vocalists: The Effects of the Mind-Body Integrated Exercise Program on Singers’ Posture, Tension, Efficacy, and Respiratory Function." In Perspectives in Performing Arts Medicine Practice, 111–25. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-37480-8_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Berry, Richard. "‘Just Because You Play a Guitar and Are from Nashville Doesn’t Mean You Are a Country Singer’: The Emergence of Medium Identities in Podcasting." In Podcasting, 15–33. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90056-8_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Paul, Sharon J. "Problem Solving." In Art & Science in the Choral Rehearsal, 1–26. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863760.003.0001.

Full text
Abstract:
This chapter examines how to design rehearsal strategies that take advantage of the brain’s natural tendency to learn efficiently through problem solving. After a brief discussion of the science of learning, this chapter offers pragmatic exercises and ideas to increase singer engagement through the embedding of problem solving throughout the rehearsal process. Areas explored include how to begin rehearsal with a problem to solve, encouraging autonomous decision-making from your singers, experimentation with tuning forks, and teaching your students to self-monitor. It also looks at ways to allow for singer analysis and experimentation, create provisions for follow up, incorporate reflective exercises, use the Socratic method, and utilize collaborative problem-solving techniques in rehearsal.
APA, Harvard, Vancouver, ISO, and other styles
4

Miller, Richard. "The Aging Singer." In On the Art of Singing, 202–4. Oxford University Press, 1996. http://dx.doi.org/10.1093/acprof:osobl/9780195098259.003.0065.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

"Performance Art." In Confessions of a Radical Chicano Doo-Wop Singer, 152–53. University of California Press, 2019. http://dx.doi.org/10.1525/9780520969667-036.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Weinstein, Deena. "All Singers Are Dicks." In Rock Music, 169–80. Routledge, 2017. http://dx.doi.org/10.4324/9781315088631-9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Miller, Richard. "The Singer and the Otolaryngologist." In On the Art of Singing, 307–8. Oxford University Press, 1996. http://dx.doi.org/10.1093/acprof:osobl/9780195098259.003.0095.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Tsai, Wei-Ho, and Cin-Hao Ma. "Overlapping Singer Identification in Music Recordings." In Advances in Web Technologies and Engineering, 23–43. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7268-8.ch002.

Full text
Abstract:
Singer identification (SID), which refers to the task of automatically identifying the singer(s) in a music recording, is of great help in handling the rapid proliferation of music data on the internet and digital media. Although a number of SID studies from acoustic features have been reported, most systems are designed to identify the singer in recordings of solo performances. Very little research has considered a more realistic case, which is to identify more than one singer in a music recording. The research presented in this chapter investigates the feasibility of identifying singers in music recordings that contain overlapping (simultaneous) singing voices (e.g., duet or trio singings). This problem is referred to as overlapping singer identification (OSID). Several approaches to OSID are discussed and evaluated in this chapter. In addition, a related issue on how to distinguish solo singings from overlapping singing recordings is also discussed.
APA, Harvard, Vancouver, ISO, and other styles
9

"Epilogue: The Singer and the Song." In Pure Act, 389–94. Fordham University Press, 2020. http://dx.doi.org/10.1515/9780823268030-028.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Graham, Sandra Jean. "Innovators, Imitators, and a Jubilee Industry." In Spirituals and the Birth of a Black Entertainment Industry. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041631.003.0004.

Full text
Abstract:
The ever-growing success of the Fisk Jubilee Singers attracted widespread notice, and by 1873–1874 the troupe was facing a field of competitors, some of whom made innovations to the concert presentation of spirituals and others of whom were content to imitate the Fisk Jubilee Singers in style and repertory. Among the innovators were the Hampton Institute Singers, directed by Thomas P. Fenner. Their repertory was largely distinct from that of the Fisk singers, and they sang in a more folk-oriented performance style, as evidenced by the fact that they had a “shout leader” and sang in dialect. Another group of innovators was the Tennesseans (1874), directed by John Wesley Donavin, who sang in support of Central Tennessee College in Nashville. Their popularity rested on the supposed authenticity of what they billed as their “slave cabin concerts”—not a Fisk service of song but meant to be a naturalistic representation of slave life. The Tennesseans’ bass singer Leroy Pickett made many of their arrangements, becoming one of the earliest black arrangers of concert spirituals; later he became acting musical director. Imitators, on the other hand, reproduced the repertory and aesthetic of the Fisk Jubilee Singers. They included the Hyers sisters, who reoriented their programming of art songs to include spirituals so that they could complete with other black singers at the time, as well as the Shaw Jubilee Singers, New Orleans Jubilee Singers, Jackson Jubilee Singers, Old Original North Carolinians (managed by T. H. Brand), and Sheppard’s Colored Jubilee Singers. With all of these groups, a jubilee entertainment industry began to take shape in 1872 to 1874, as performance norms were established and as organizations like lyceum bureaus began to add jubilee troupes to their roster.
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Singerie (Art)"

1

Zhao, Chun. "Cultural Interpretation of Virtual Animation Singer." In 4th International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-17.2017.144.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Li, Yueling. "Diego Velázquez and John Singer Sargent: The Hidden Social Expectations in Female Portraits." In 2020 International Conference on Language, Art and Cultural Exchange (ICLACE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200709.005.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Jingyuan, Lu, and Lee Chie Tsang Isaiah. "Explore the Harmony in Chinese Contemporary Choral Art: "CCTV National Young Singer Grand Prix" as an Example." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008764603450350.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Zhurkova, Daria. "Music vs. Politics: the Image of Russia in the Songs by British Pop Singers of the 1960s and 2010s." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.170.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Litawa, Aleksandra. "THE AMATEUR PRACTICE OF ART AND ITS EDUCATIONAL BENEFITS AS SEEN THROUGH THE EXAMPLE OF A CHORAL SINGER." In NEW TRENDS AND RESEARCH CHALLENGES IN PEDAGOGY AND ANDRAGOGY. Uniwersytet Pedagogiczny w Krakowie, 2018. http://dx.doi.org/10.24917/9788394156893.13.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Lehmann, Christian. "Tempobezeichnungen von Julius Stockhausen für Die schöne Müllerin: Ein Quellenfund." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.61.

Full text
Abstract:
Julius Stockhausen (1826–1906) is known as the first singer who performed Schubert’s Die schöne Müllerin as a whole cycle in a public concert. A celebrated lieder singer, friend of Brahms, author of pedagogical works, and most prominent German singing teacher of his time, Stockhausen’s influence on lieder singing cannot be overestimated. Recently a manuscript with “Tempo indications for Die schöne Müllerin by Julius Stockhausen” has been found. The document, containing tempo suggestions for every single lied of the song cycle, was written down by the German singing professor Clara Klatte (1867–1945). Some of the suggested tempi are surprisingly fast. In this article the authenticity of the document is discussed under several aspects. The Klatte-Stockhausen document is published here for the first time.
APA, Harvard, Vancouver, ISO, and other styles
7

Ma, Wangyan, and Peng Yu. "Traditional Rebel, Ecological Singer- On Lawrence's poem: The subversion of the traditional image of qSnakeq of the western literature." In 2016 International Conference on Advances in Management, Arts and Humanities Science (AMAHS 2016). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/amahs-16.2016.7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Melchior, Pierre, Alexandre Poty, Bruno Orsoni, and Alain Oustaloup. "Preshaping Command Inputs for 2nd Generation CRONE Control: Application on an Instrumented DC Motor Bench." In ASME 2003 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2003. http://dx.doi.org/10.1115/detc2003/vib-48382.

Full text
Abstract:
Shaping command input or preshaping is used for reducing system oscillation in motion control. Desired systems inputs are altered so that the system finishes the requested move without residual oscillation. This technique, developed by N.C. Singer and W.P. Seering, is used for example in the aerospace field, in particular in flexible structure control. This paper presents the study of ZV shaper for explicit fractional derivative systems (generalized derivative systems). A robustness study of ZV shaper is then presented and applied to improve second generation CRONE control response time. Results in simulation and on a DC motor bench are given.
APA, Harvard, Vancouver, ISO, and other styles
9

Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.

Full text
Abstract:
80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts.
APA, Harvard, Vancouver, ISO, and other styles
10

Cailliez, Matthieu. "Europäische Rezeption der Berliner Hofoper und Hofkapelle von 1842 bis 1849." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.50.

Full text
Abstract:
The subject of this contribution is the European reception of the Berlin Royal Opera House and Orchestra from 1842 to 1849 based on German, French, Italian, English, Spanish, Belgian and Dutch music journals. The institution of regular symphony concerts, a tradition continuing to the present, was initiated in 1842. Giacomo Meyerbeer and Felix Mendelssohn Bartholdy were hired as general music directors respectively conductors for the symphony concerts in the same year. The death of the conductor Otto Nicolai on 11th May 1849, two months after the premiere of his opera Die lustigen Weiber von Windsor, coincides with the end of the analysed period, especially since the revolutions of 1848 in Europe represent a turning point in the history of the continent. The lively music activities of these three conductors and composers are carefully studied, as well as the guest performances of foreign virtuosos and singers, and the differences between the Berliner Hofoper and the Königstädtisches Theater.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Singerie (Art)' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography