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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.
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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.
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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.
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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 ».
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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).
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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.
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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.
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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.
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Syafniati, Syafniati. "PANDANGAN MASYARAKAT TERHADAP WANITA SEBAGAI PENDENDANG DALAM ACARA BAGURAU LAPIAK DI PAYAKUMBUH." Humanus 13, no. 2 (December 29, 2014): 146. http://dx.doi.org/10.24036/jh.v13i2.4724.
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Bagurau Lapiak is one of the types of saluang dendang (sing along with saluang—a type of recorder—play) performance conducted in the corridors of Payakumbuh stores, using lapiak (mat) for seat. Bagurau Lapiak is organized by a group ‘pagurauan’ (jokers) held on evenings starting at 21.00 until dawn. The singer (‘pendendang’) in the show is a woman who will fulfill the request of the audience to sing and play certain tunes by giving some amount of money to a committee called janang. Previously all singers in Minangkabau are men; women singers are considered to violate traitional and religious norms and it is not appropriate for women to sing along with the men in public let alone at night. However, in the case of saluang pendendang, women sungers play an important role in attracting the ‘joke addict’ in saluang bagurau (joking) activity. This paper aims to reveal the form of presentation of bagurau lapiak in Payakumbuh and the society's view of women as singer. This stuy used qualitative descriptive analysis method with cultural anthropology approach to music which can be seen through the behavior of musical physic and verbal as cultural facts of individuals and community groups. The music and the communities’ behavior have a very close relation. This study also uses feminimisme theory to explain women’s role in the saluang dendang show. The result shows that the tunes, the rhymed text that are sung by women are a kind of communication between the singers and the audience. In the other hand, people support as well as criticize the woman singer based on traditional, religious, and performing art values. Keywords: pendendang women, Bagurau Lapiak, community views
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Armstrong, Alan. "Gilbert-Louis Duprez and Gustave Roger in the composition of Meyerbeer's Le Prophète." Cambridge Opera Journal 8, no. 2 (July 1996): 147–65. http://dx.doi.org/10.1017/s0954586700004663.
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It is well known that mounting large-scale productions at the Paris Opéra during the 1830s and 1840s was a highly collaborative effort. The nature of so-called ‘grand opera’ demanded that composer, librettist and stage designer work closely together for the sake of a creation larger than the sum of its parts. Above them loomed the directeur, who laboured to ensure that his creative team had the means to produce their æuvres both in materials and human resources, and to guarantee that the Opéra made a profit from the finished products. A fifth collaborator, the singer, is not often cited as such in the literature, but in many ways wielded the greatest power in the creation of Parisian operatic works. By the 1830s, European singers had achieved professional status, and a singing artist of high calibre could find the Opéra a perfect venue in which to flex muscle. During the Opera's ‘golden age’, a bourgeois public, tired of political upheaval and economic uncertainty, found escape in the new ‘romanticè fare of the Opéra, and elevated the singers who strode its boards to what today is called ‘star status’. The Opéra became a temple and its singers, adored gods and goddesses. A beloved singer could – and did – ensure an opera's success simply by appearing in it, or doom it to failure by refusing to appear. With such power a singer could easily hold a new opera for ransom, forcing the composer and librettist to revise, excise or otherwise alter the work to some self-serving end. To secure a place for their stage works at the Opéra and to guarantee a public triumph, therefore, it is not surprising that composers such as Donizetti, and especially Meyerbeer, the leading composer of French grand opera, composed or revised their operas for particular singers.
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Ellis, Katharine. "Lyon's Wagnerian Diva: Louise Janssen (1863–1938)." Cambridge Opera Journal 30, no. 2-3 (November 2018): 214–36. http://dx.doi.org/10.1017/s0954586719000077.
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AbstractIt seems historiographically implausible to ascribe the reputation of fin-de-siècle Lyon as France's Bayreuth to the impact of a single middle-ranking soprano, but the Danish singer Louise Janssen's long-term presence, galvanic musical influence and box-office value suggest precisely that conclusion. Part of the explanation lies with the diva-worship of her supporters (‘Janssenistes’), who curated her image both during her career and in her retirement to create an adopted musical heroine whose memory remains guarded by Lyon council policy. That image, selectively constructed from among her Wagner roles, also typecast her as a singer who had much in common with Symbolist art – a potential Mélisande that Lyon never saw. This article brings together archival and press materials to explain how a foreign-born singer's agency and mythification contributed to a double French naturalisation – her own, and that of Wagner(ism).
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Davlatova, T. "The creative path of Maria Donets-Tesseyr (based on archival materials)." Musical art in the educological discourse, no. 3 (2018): 89–92. http://dx.doi.org/10.28925/2518-766x.2018.3.8992.
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The article examines the creative path of the famous Ukrainian opera singer and vocal teacher Maria Eduardivna Donets-Tesseyr. It provides the biographical facts about M. Donets-Tesseyr, her performing and teaching activities on the basis of archive materials of the Central State Archive-Museum of Literature and Art of Ukraine, works of her pupils and contemporaries, as well as the research of modern art. Some disagreements concerning the facts of her biography, in particular, the year of the birth of the singer, are specified in her own autobiography. This fact is first introduced into scientific circulation. The information is provided on the period of M. Donets-Tesseyr’s studies at various vocal pedagogues, as well as their influence on her becoming a soloist and vocal teacher. Features of personal and creative relations of M. Donets-Tesseyer with her vocal teacher O. Mishuga are analysed on the basis of the singer’s memories. The educational activity of O. Mishuga from the point of view of memories of M. Donetsk-Tesseyr and the statements of O. Mishuga himself is considered. These materials deal with the methodology of teaching vocals and educating an opera singer. The statements of well-known vocal teachers, in particular, O. Mishuga and V. Vanzo, concerning the issues of vocal pedagogy are given. The continuity of the pedagogical principles of O. Mishuga and V. Vanzo in the activity of M. Donets-Tesseyr, as a vocal teacher, and her personal contribution to the development of the methodology for raising high female voices, is highlighted. The peculiarities of the personal development of M. Donets-Tesseyr as a teacher of vocal art are revealed. The significant contribution of the vocal-pedagogical activity of M. Donets-Tesseyr to the development of Ukrainian opera art of the middle of the 20th century is proved.
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Loginov, E. V. "The Discussion on the Principle of Universalizability in Moral Philosophy in the 1970s and 1980s: An Analysis." Russian Journal of Philosophical Sciences, no. 10 (December 20, 2018): 65–80. http://dx.doi.org/10.30727/0235-1188-2018-10-65-80.
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In this paper, I analyzed the discussion on the principle of universalizability which took place in moral philosophy in 1970–1980s. In short, I see two main problems that attracted more attention than others. The first problem is an opposition of universalizability and generalization. M.G. Singer argued for generalization argument, and R.M. Hare defended universalizability thesis. Hare tried to refute Singer’s position, using methods of ordinary language philosophy, and claimed that in ethics generalization is useless and misleading. I have examined Singer’s defense and concluded that he was right and Hare was mistaken. Consequently, generalization argument is better in clarification of the relationship between universality and morality than Hare’s doctrine of universalizability, and hence the universality of moral principles is not incompatible with the existence of exclusions. The second problem is the substantiation of the application of categorical imperative in the theory of relevant act descriptions and accurate understanding of the difference between maxims and non-maxims. In Generalization in Ethics, Singer drew attention to this theme and philosophers have proposed some suggestions to solve this problem. I describe ideas of H.J. Paton, H. Potter, O. O’Neill and M. Timmons. Paton coined the teleological-law theory. According to Potter, the best criterion for the relevant act descriptions is causal one. O’N eill suggested the inconsistency-of-intention theory. Timmons defended the causal-law theory. My claim is that the teleological-law theory and the causal-law theory fail to solve the relevant act descriptions problem and the causal criterion and the inconsistency-of-intention theory have their limits. From this, I conclude that these approaches cannot be the basis for clarifying the connection between universality and morality, in contrast to Singer’s approach, which, therefore, is better than others to clarify the nature of universality in morality.
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Olwage, Grant. "Listening B(l)ack." Journal of Musicology 32, no. 4 (2015): 524–57. http://dx.doi.org/10.1525/jm.2015.32.4.524.
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Much of the interpretive scholarship on Paul Robeson has tended to focus on his art as it relates to politics, an imperative related no doubt as much to the social turn in the humanities as to the singer’s own activist credentials. This article shifts the focus to art matters with the goal of gaining additional perspective on Robeson’s early singing career in the 1920s by examining the contemporary practices of concert singing. The analysis focuses on three domains of practice pertaining to singing spirituals at concerts: the programming of spirituals in recital; arranging them for performance; and their vocal performance. I include a study of how Robeson’s concert practice is indebted to that of the tenor Roland Hayes, proposing that a close listening to Hayes’s singing sheds new light on the assessment of Robeson’s early concert career and representations of the singer as racial subject.
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Phyland, Debra. "The Measurement and Effects of Vocal Load in Singing Performance. How Much Singing Can a Singer Sing if a Singer Can Sing Songs?" Perspectives of the ASHA Special Interest Groups 2, no. 3 (January 2017): 79–88. http://dx.doi.org/10.1044/persp2.sig3.79.
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Singing as both an art form and physical activity demands a level of health and skill fitness to meet performance demands. The determination of performance fitness relies on performers' self-evaluations of their vocal capacity for performance, based, amongst other factors, on the current vocal status and ability to manage the associated vocal load. Measurement of load and the impact on the vocal mechanism is complex and influenced by many intrinsic and extrinsic factors. Researchers have attempted to quantify vocal load effects by measuring physical impact stress on the vocal folds, self-reported perceived exertion, and/or clinical evaluation of physiologic, acoustic, or perceptual changes. Most studies have been conducted in laboratory rather than in performance contexts and studies on singers are substantially lacking. Heavy vocal load has been causally associated with the development of voice disorders, although the exact relationship and thresholds for acquiring laryngeal pathology require further elucidation, and little is also known about the development of voice disorders among singers. Further understanding of the short-term and cumulative effect on the vocal folds of performing as a singer and the nature and prevalence of voice problems among singers is crucial to the determination of appropriate prevention and therapeutic management.
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Башмакова, Н. В., and Т. П. Окіпна. "G.F. Handel’s arias in the academic repertoire of the modern singer (performance aspects)." Музикознавча думка Дніпропетровщини, no. 16 (December 19, 2019): 97–109. http://dx.doi.org/10.33287/221926.
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The purpose of the article to identify the place and role of Handel'sarias in two types of contemporary academic performing practice:vocalists and bandura singers, by analyzing the actual concert and trainingrepertoire. The series methods of this study are based on the application ofperforming and comparative analysis that allows us to considerinterpretations of Handel's works. Particular attention is paid to methods ofempirical nature, namely the interview, which helps to summarize theissues of this topic of the article. The scientific novelty of the article is toreveal the peculiarities of using the arias of Handel, relevant tocontemporary concert vocal and bandura art, which have not yet appearedas research material. Conclusions. The analysis of Handel's popular ariasby well-known singers of today and the tendency of their interpretations inbandura creativity indicate that these compositions are very useful andconvenient from the point of view of developing not only stage stamina,stylistic conformity, but also the musical thinking and creative skills of theperformers. The vocalist, who sings by the accompaniment, has theopportunity to concentrate on the technology of vocal performance, theembodiment of imaginative content of the composition, artistry, while thebandura singer develops polyphonic thinking when performing thecomposition, following the development of each line. In this aspect, it isworth noting that the practice of using bandura-singer Handel’s arias inconcert activities implies the experience of his own instrumentalaccompaniment, which develops the skills of controlling the sound balanceof vocal and instrumental parts and practice of editing and arrangingmusical text.
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Gmyrina, S. V. "Сoncert performance production as method of professional training for students-vocalists." Musical art in the educological discourse, no. 2 (2017): 136–40. http://dx.doi.org/10.28925/2518-766x.20172.13640.
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The present article deals with one of the major problems of training future soloists singers in higher education in Ukraine. The author analyses the art, scientific, educational and journalistic works of native and foreign scientists and artists on problems of pop and variety performance, set objectives of vocal training of students in higher education of Ukraine. The researcher describes the production of the concert performance as a part of professional training of future soloist-vocalist and although defines a role of the vocal stage in the professional development of student’s personality — future pop singer. The article reveals origin of such concepts as “music performance”, “pop performance”, outlines the artistic components of pop vocal performance as synthesis of the arts and furthermore the role of drama in the pop vocal performance. The author of the article analyses the specifics of pop vocal performance, determines specific features of performance and stage character of pop singer. The researcher focuses on specifics of state examination of solo singing in higher education, and explains the factors of successful performance for student vocalist on the state exam, analyses the structure of the final program of the future pop singer and defines the role of performance in the solo concert.
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Kholodova, M. V., and M. M. Chikhacheva. "OUTSTANDING FIGURES OF OPERA ART OF KRASNOYARSK: LARISA VLADIMIROVNA MARZOEVA." Northern Archives and Expeditions 5, no. 2 (June 30, 2021): 159–67. http://dx.doi.org/10.31806/2542-1158-2021-5-2-159-167.
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The study of the culture of various regions of Russia, including the musical culture of Siberia, is one of the intensively developing areas of modern russian art history and cultural studies. The history of the formation and development of the musical culture of Krasnoyarsk - one of the largest siberian centers — is a multi-faceted picture, already meaningful in a number of fundamental works, a series of scientific publications. At the same time, not all aspects of the musical life of Krasnoyarsk received comprehensive coverage, many of its pages are waiting for their researcher. The article presents the milestones of the creative biography of an outstanding singer, Honored Artist of Russia, professor of the Siberian State Institute of Arts named after Dmitry Hvorostovsky — Larisa Vladimirovna Marzoeva, whose name is known today far beyond Siberia. The focus of the author of the work is the way of becoming a talented artist, teacher in the musical and theatrical field, coverage of the activities of an outstanding person in the field of opera art. A talented graduate of the Leningrad State Conservatory named after N.A. Rimsky-Korsakov in 1978, at the invitation of the leadership, chooses a career in the only opening Krasnoyarsk State Opera and Ballet Theater (now bearing the name of the famous fellow countryman, baritone Dmitry Alexandrovich Hvorostovsky), the Siberian Theater has become a true "alma mater" for the singer, and her multifaceted creative activity has largely determined the development of opera art and marked an important milestone in the musical and theatrical life of Krasnoyarsk in the last third of the 20th — first quarter of the 21st century. The work presents materials of Krasnoyarsk periodicals and interviews with L.V. Marzoeva, on the basis of which the singer's contribution to the cultural life of Krasnoyarsk is analyzed, the results of her creative activities covering performing, pedagogical, musical and educational work are summed up.
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Rosselli, John. "From princely service to the open market: Singers of Italian opera and their patrons, 1600–1850." Cambridge Opera Journal 1, no. 1 (March 1989): 1–32. http://dx.doi.org/10.1017/s0954586700002743.
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We are used to thinking of ‘opera singer’ as a profession. But no such profession existed when opera emerged as a genre at the turn of the sixteenth and seventeenth centuries, when the first public opera house opened in Venice in 1637, or for three or four decades after that: operas were too few to occupy most of anyone's time. In the early seventeenth century not even ‘singer’ was as yet a clearly defined trade. Many singers were also instrumentalists: some accompanied themselves (and some also composed their own music), while others switched between singing and playing; the commonest Italian term for them all was musici. Others again were actors or actresses who could sing, like Virginia Andreini, drafted in an emergency to create the title part in Monteverdi's Arianna of 1608.
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Shylo, A. "Performing activities of Larisa Rudenko (based on archival materials)." Musical art in the educological discourse, no. 3 (2018): 93–96. http://dx.doi.org/10.28925/2518-766x.2018.3.9396.
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The article covers the performance of the famous Ukrainian opera singer Larysa Arkhipivna Rudenko based on archival materials of her Personal Fund [F. 120], which are stored in the Central State Archive-Museum of Literature and Art of Ukraine. The archival material is represented by periodicals of the late 30s and early 80s of the 20th century, in particular, articles about the artist’s creative activity and reviews of musical critics at her concerts. The above archival materials are first introduced into scientific circulation. The article reveals the peculiarities of L. Rudenko’s performance and her role in the development of Ukrainian vocal art in the second half of the 20th century. Unknown pages of the biography and performances of the outstanding opera singer L. A. Rudenko, student of the founder of the Ukrainian vocal school Olena Oleksandrivna Muravieva are considered. The main methods of the work of the outstanding vocal teacher O. Muravieva are described in the words of her famous pupils L. Rudenko and L. Yefremova. The first creative searches by L. Rudenko began during her studies at the Kyiv Tchaikovsky Conservatory. The figure of L. Rudenko is associated with the state archives of Ukraine, in particular: at the National Music Academy of Ukraine named after P. I. Tchaikovsky and presented by documents testifying to the high professionalism of L. Rudenko as a vocal teacher and personal fund of Larisa Rudenko of the Central State Archives-Museum of Literature and Art of Ukraine. The author analyses individual achievements of the performer on the example of her work on operatic parties. The attention is paid to the peculiarities of L. Rudenko’s work on women’s images: the full sound of the singer’s voice is harmoniously combined with a detailed elaborated scene drawing of a role. The performance of L. Rudenko is presented in the coverage of professional music criticism and periodicals. The significant influence of L. Rudenko’s performance on the development of Ukrainian operatic art of the second half of the 20th century has been proven.
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Shubina, L. I. "«Actual intoning» in the vocalperforming practice of Tetiana Vierkina (based on the romance repertory)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 9–33. http://dx.doi.org/10.34064/khnum2-17.01.
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Background. Objectives and methodology of the research. An attempt is made to consider the vocal-performing work of the People’s Artist of Ukraine Tetiana Vierkina in the aspect of the “actual intoning” concept, which was developed in her PhD thesis. “Actual intoning” is interpreted by the researcher not only as the performer’s work, who turned the author’s text into the sound reality, into a living speech utterance, but also as the desire to fill her interpretation with relevant meanings that are significant for the modern era. The scientific work by T. Vierkina, devoted to the problems of intoning, grew out from a generalization of her many years of experience – artistic and pedagogical. However, in the field of view of the musicologists studying the performing art of T. Vierkina, mainly, her pianistic mastery proves to be. However, in Ukraine, as in the cities of Russia, Armenia, Georgia, Belarus, T. Vierkina is also known as a chamber singer, the owner of a very beautiful soprano, a performer with a peculiar manner of singing. Being not as powerful and dense as opera voices, the singer’s voice nevertheless sounds good in large concert halls with the accompaniment of symphony orchestras thanks to her technique of bright, sonorous sound. Having a recognizable, unique timbre, Tetiana Vierkina subordinates it to the tasks of expressively meaningful singing, finds her place among the intellectual type of singers. Two main directions in her vocal repertoire are defined – domestic, classical romance, pop songs of the 19th–20th centuries, on the one hand, and chambervocal music by Kharkiv composers, on the other. The purpose of this article is to consider only one direction in the vocal performing creativity by T. Vierkina related to her romances singing repertoire. The research is based on five romances representing the Pushkin-Glinka era –“You’ll never understand my sadness” by A. Gurilev to the poem of V. Beshentsov, “Don’t wake her at the dawn” by A. Varlamov to the poem of A. Fet, “When minute of the life is hard” to the poem of M. Lermontov – and the “Silver Age” of Russian poetry:“No, he didn’t love” by A. Guercia to the poem of E. Del Preite, in the Russian translation of M. Medvedev and “The Lord’s Ball” by A. Vertinsky to the poem of the author. An analysis of the interpretations of these works is included in the historical context, referring to some other interpretations of their musical text, to reveal the originality of the images and meanings created by T. Vierkina. The features of the artist’s creative formation and the circumstances of her life, which influenced her performing style, are taken into account. Thus, the general scientific methods of historical retrospection, comparison, generalization are used in this work, as well as the complex methodology of analytical musical-theoretical researches that correlated with B. Asafiev’s theory of intonation. Research results. The paper describes main features of the singing art of T. Vierkina, the artist with a beautiful timbre of her voice, which has a wide range capable of covering both soprano and mezzo-soprano. A brief overview of the vocal performance of T. Vierkina as a chamber singer is presented. The role of the Petersburg vocal teacher Raisa Christie, under whose guidance T. Vierkina perfected her singing technique and was supported in her search for an intonationally meaningful manner of singing, is shown. Turning to the analytical material, the author emphasizes means of expressiveness, with the help of which the singer creates completely different images on the basis of five romances. High, penetrating elegiac character of the Glinka type in the work of A. Gurilev is combined with the subtle understanding of the dialogical nature of the romance genre – the singer interprets each verse as an increasingly tense “phase” in her communication with an invisible interlocutor. In the song-romance of A. Varlamov, the singer goes by the parallelism of images of nature and a young beauty. The singer organizes the couplet-stanza form in a three-part composition, where the first and last sections (the nature waking up at sunrise plays with morning colors on the cheeks of a sleeping girl) contrast with the central one, in which the image of the night, the time of love anxieties and longings, dominates. At first, the singer’s voice is distinguished by its primary “instrumentality”, ease and purity of sound, while in the “night scene” it acquires greater density, verbal expressiveness. In the Bulakhov’s elegy, subtle penetration into the composer’s concept, which comes in a certain contradiction with Lermontov’s intent, makes it attractive. The poet reveals the effect of prayer as a process that begins “when minute of the life is hard”, and ends with the liberation of the hero from the burden of doubt. Bulakhov, on the contrary, choosing for the romance a gloomy, mournful tonality in B minor keeps it unchanged throughout the entire work, with the exception of episodic deviation to the parallel major, emphasizing the static contemplation of the image of the hero, who thinks suffering itself as grace, as effort of the soul aspiring to God. When considering the last two romances (“No, he didn’t love” and “The Lord’s Ball”), references were made to the interpretations of other performers, who each in their own time and in their own way updated these works (V. Komissarzhevskaya, N. Alisova, A. Vertinsky, V. Vysotsky and others). T. Vierkina’s versions of the two romances are analyzed. The first one attracts with light associations with the free gypsy style of singing (improvisation, use of the larynx-nasal timbre, changing of the metro-rhythm, compression-stretching, free transitions from tempo slowdowns to accelerated movement, transitions from singing to chanting words, etc.). In the song-arietta by A. Vertinsky, the emphasis is on elegance, intonation of sympathy for the heroine, whose life flew in ghostly dreams. The singer narrates, distancing herself from the heroine, then, seems to transform into her, then comments, rising above the “action”. Conclusions. Works created almost two centuries ago, performed by T. Vierkina, become significant and relevant for her contemporaries. In the romance she emphasizes the richness and depth of emotional experiences, which turns it into a kind of “encyclopedia” and, at the same time, “school of feelings”. This school, according to the singer, is called upon to resist the ever-increasing impoverishment of the emotional life of people in the era of technological progress and the increasing popularity of communications in the virtual space of the Internet. T. Vierkina believes that with the classic romance the art of representing ordinary human feelings in the light of a high ideal, reflecting them openly, sincerely, and confidentially, is a part of our life. Evenings of T. Vyerkina’s romances have always been significant events in the musical life of Kharkiv, which drew the attention of the public. The singer’s desire to “actualize” the genre, make it a “barometer” of the moods of her contemporaries, always find support among admirers of her artistic talent – all the singer’s concert performances end with “mass singing” – performance of some popular romance by all the listeners in the hall.
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Keightley, Keir, Will Friedwald, Steven Petkov, Leonard Mustazza, and Ethlie Ann Vare. "Sinatra! The Song Is You: A Singer's Art." American Music 15, no. 1 (1997): 101. http://dx.doi.org/10.2307/3052702.
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Tikhonova, Elena. "Siberian singer." Сибирские исследования (Siberian Research) 4, no. 2 (December 15, 2020): 77–82. http://dx.doi.org/10.33384/26587270.2020.04.02.09e.
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In this work, I want to talk about the little-known paintings of the Honored Artist of Russia Yuri Spiridonov, which were greatly influenced by his childhood and adolescence as an artist. These canvases were painted during the period of searches, in the manner of modern Art Nouveau and abstract art. He was born in Kosisty among the Dolgans, a family of reindeer breeders, which is obscure in the great outdoors of Siberia (Kozhevnikov Bay) and located on the shores of the Arctic Ocean in the territory of Anabarsky's district of the Yakut Autonomous Soviet Socialist Republic. Once he finished with school, he was admitted to the Herzen State Pedagogical University of Russia in Leningrad. Today, he lives in Yakutsk and is at the height of his creative urge. In his creative search, Yuri Spiridonov often turns to folklore and folk philosophy using a synthesis of the traditions of realism and abstraction in his works. These works show the commonality of worldview philosophy, poetics of folklore, not only of Siberian, but also of many Eurasian peoples. Using the "patchwork quilt" method in the abstract images of the "World Tree", understandable to the masses throughout almost all of Eurasia, he recreated the motives of ancient Siberia, whose inhabitants moved across the Bering Strait to North America.
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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 (July 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 his performance as Gluck's Orfeo (published in Naples in 1782), in which the singer argues for voice as audible interiority and, as such, a warrant of political subjectivity. It then turns to a reading of Gastone della Torre di Rezzonico's libretto for Giuseppe Sarti's dramma per musica Alessandro e Timoteo (Parma, 1782), in which voice transforms into an instrument of anti-absolutist critique. The article concludes by considering how these two modes of voice were imagined, together, as capable of revivifying Italian culture.
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Sataloff, Robert Thayer. "Professional Singers: The Science and Art of Clinical Care." Otolaryngology–Head and Neck Surgery 112, no. 5 (May 1995): P51. http://dx.doi.org/10.1016/s0194-5998(05)80097-x.
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Gmyrina, S. "Development of charismatic skills of soloist-vocalist in professional training." Musical art in the educological discourse, no. 3 (2018): 110–15. http://dx.doi.org/10.28925/2518-766x.2018.3.110115.
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The article analyses art, scientific-pedagogical, and journalistic works of national and foreign scientists and artists regarding the problems of formation of performer’s charisma and its development in a student-vocalist in the process of professional training at university. On the basis of this, the content of the concept of “charisma” is revealed, charisma of a pop singer is characterised. The article defines the task of developing charisma as a professional quality of a future singer in conditions of university education — it’s a student’s preparation for a successful concert-performing activity. On the basis of the analysis of the educational program, the author determines the main professional competences of the future soloist-vocalist (vocal-performing, vocal-methodical, vocal-stage, and others), the formation of which is impossible without such quality of a singer as charisma. The examples from the experience of creative activity of the famous pop singers are given, the peculiarities of the development of their charismatic qualities are analyzed. The author views charisma as a professionally needed quality of a future soloist-vocalist. She puts the emphasis on the fact that charisma contributes to the successful implementation of skills and abilities in the vocal-stage activities, acquired by the students during the classes on solo singing, acting and stage language. It is noted that the level of formation of student’s charismatic qualities determines the level of his or her vocal-stage mastery and success of the further professional activities. In the research charisma of a performer is characterized as a component of the professional preparation of a future singer-vocalist, and also the factors of successful development of the student-vocalist’s charisma are proven — such as psychological and target orientation, natural inclinations, special abilities, talent, etc. The hypothesis of S. Hmyrina that the purposeful formation of charisma of the future soloist-vocalist in the process of professional training at the university ensures success of his or her further vocal-stage activities is confirmed.
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Rubin, Adam D., and Juliana Codino. "The Art of Caring for the Professional Singer." Otolaryngologic Clinics of North America 52, no. 4 (August 2019): 769–78. http://dx.doi.org/10.1016/j.otc.2019.03.019.
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Gidwitz, Patricia Lewy. "Mozart's Fiordiligi: Adriana Ferrarese del Bene." Cambridge Opera Journal 8, no. 3 (November 1996): 199–214. http://dx.doi.org/10.1017/s0954586700004729.
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Mozart's ability to craft music closely suited to his singers took a remarkable turn with the soprano Adriana Ferrarese del Bene. This singer's career, from sporadic prominence in serious opera to notoriety as a prima donna in Viennese opera buffa in the late 1780s, was capped by her association with Mozart and Da Ponte in Così fan tutte (1790). Certain reports notwithstanding, Ferrarese seems to have been far from a great artist; her successes were modest and she never before or after attained the artistic triumph she achieved in the Mozart–Da Ponte opera. Reviews and contemporary comments suggest that her comic and dramatic skills were uneven, her vocal equipment impressive but incomplete and her performances less than inspiring. Mozart's achievement was to transform a particular set of vocal skills and limitations into something of exceptional artistic value; Fiordiligi was fashioned out of the temperament, vocal style and dramatic abilities – and limitations – of his soprano.
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Gvion, Liora. "‘If you ever saw an Opera singer naked’: The social construction of the singer’s body." European Journal of Cultural Studies 19, no. 2 (May 29, 2015): 150–69. http://dx.doi.org/10.1177/1367549415585551.
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Monod, David. "DOUBLE-VOICED: MUSIC, GENDER, AND NATURE IN PERFORMANCE." Journal of the Gilded Age and Progressive Era 14, no. 2 (April 2015): 173–93. http://dx.doi.org/10.1017/s1537781414000784.
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AbstractDouble-voiced singing was a popular form of variety show entertainment from the 1860s through to the 1920s. Double-voiced performers were able, through intonation and tone, to sound as though they had at least two separate and distinct “voices,” generally one soprano and one baritone. But as Claire Rochester, a double-voiced singer of the early twentieth century made clear, their act was more than just a matter of a woman singing low notes or a man singing high ones; it was all about a performer adopting the “voice” of the other sex. The unusual practice of these singers was to sing duets (and sometimes as much as quartets) to themselves and by themselves, flipping back and forth between their male to female “voices.” I place this strange form of entertainment in the context of changing attitudes to gender and sexuality and suggests that conventional interpretations of “freak” performances as “transgressive” fail to account for these vocal wonders. Double-voiced singers shunned the “transgressive” billing, especially when their own sexual identity was called into question. In making this argument, I suggest that we need to widen our understanding of “freakery,” imposture and the meaning of “nature” and “truth,” as they were revealed both on stage and off.
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Juldashev, I. Zh. "Ethymological Analysis of the Word Bakhshi in the Folklor Studies of Turk Peoples." Cultural and Historical Heritage: Preservation, Representation, Digitalization 5, no. 2 (2019): 55–61. http://dx.doi.org/10.26615/issn.2367-8038.2019_2_006.
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This article discusses the etymology of the concept of bakhshi, which is the name of a separate type of art, and the name of the singers who are engaged in the art of bakhshi, which is given considerable attention in Uzbekistan as a national value. Keywords: bakhshi, source, transcription, festival, etymology
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Watts, Mark. "Electrifying Fragments: Madonna and Postmodern Performance." New Theatre Quarterly 12, no. 46 (May 1996): 99–107. http://dx.doi.org/10.1017/s0266464x00009921.
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The rise and (perceived) decline of Madonna has gone, so to say, hand-in-hand with that of postmodern theory – slightlydémodéjust at present, but none the less pervasively influential for that. The singer's two most recent albums were critical successes, and the controversy in Argentina over the choice of the star to play Eva Peron testifies to her continuing capacity to attract notoriety. But in what does that notoriety consist? How is the persona that is all we know of Madonna constructed, and how does it work? How is she able to make such distinctive use of the emergent potential of multimedia? What constitutes thecoherenceof Madonna's image? Mark Watts, a graduate in Film and Literature of the University of Warwick, here analyzes the appeal of the singer-actress in terms of the concept ofpunctum, defined by Barthes (in opposition to the rational, linear understanding ofstudium) as the ‘electrifying fragment’ that seizes and ravishes the imagination.
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Weinberg, H. Barbara, and Stephanie L. Herdrich. "John Singer Sargent: In the Metropolitan Museum of Art." Metropolitan Museum of Art Bulletin 57, no. 4 (2000): 1. http://dx.doi.org/10.2307/3269083.
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Klebanova, S. V. "Keys to mastery: from the experience of the concertmaster’s work in the class of the concert-chamber singing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 8–20. http://dx.doi.org/10.34064/khnum1-53.01.
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The basis for the topic. The present article is devoted to the coverage of pedagogical functions of the concertmaster activity in the class of the concert and chamber singing. Taking into account that the functions of a teacher-concertmaster are quite extensive, and the scope of the performed repertoire in genre and style account is extremely broad, the topic of works on concertmaster studies is a special section of music science. The utmost goal of the concertmaster in the class of concert and chamber singing is to develop the artistic thinking and musical taste of the young singer, to increase his/her erudition and, as a result, to create a creative personality. The object of the study is the pedagogical activity of the concertmaster as a form of creativity; the subject is the experience of understanding the activity of the concertmaster in the class of concert-chamber singing. The purpose of the article is to substantiate the pedagogical factor of the concertmaster work in the class of concert and chamber singing as the basis of the professional activity of the future singer. The analysis of the recent publications on the topic. In the last decade, the Kharkiv performing school has greatly increased the attention of the researchers from practicing concertmasters to their professional self-identification. Thus, N. Inyutochkina poses the problems of concertmaster activity in the light of the general tenets of "ensemble co-creation", according to which the concertmaster is a sensitive ensemble-member and interpreter who has thoroughly studied the specifics of the vocal art and aligns all the means of his/her expressing instrument with the personal-psychological complex of the singer (2010). The dissertation for a Candidate degree written by G. Zub (2012) substantiates the specificity of this kind of performing creativity in historical, genetic, typological, and stylistic planes. The concertmaster’s work has been studied in the most encyclopaedic way in numerous scientific works by T. Molchanova (2015). The presentation of the main material. The presentation of the main material. The concert-chamber singing is regarded as a kind of co-creation of the vocalist and pianist, in which the former learns from the latter. The latter, on the basis of the professional service to the vocal art and its bearers, must create from his/her under warder a master who is capable in conditions of a concert performance for an artistic act-event. The main qualities of the concertmaster who wants to master the pedagogy of the vocal art are attention, memory, productive (creative) thinking and constant expansion of the consciousness and emotional sphere. A concertmaster must possess a complete set of musical talents: the advanced musical hearing, the imaginative thinking, the sense of rhythm, artistry, fantasy, mobility, activity and the specific ability “to pick up” a soloist in time and finish the composition. To do this, he/she cultivates an analytical mind, an intonation erudition, curiosity, perseverance and even tolerance, pedagogical endurance, and psychological drive to this field of music making. The way to master the whole complex of properties and qualities of the concertmaster’s training is a long and complicated one. The directions of applying the concertmaster mastery in the pedagogic job with young vocalists have been outlined: the preparatory work (the introduction to the composer’s text; the work on the poetic text; the processing of the poetic text); the performance as a psychological process (artistic influence, suggestion, performing means) and the concert performance. A concertmaster is a highly sought after profession of an exceptionally creative, intellectual prowess that requires something more than “playing of the notes”! Accompanists are the equal participants in a ensemble whole – the co-creation of a singer and a pianist, which creates for the listener an artefact “on behalf of the author”. Being a rhythmic and harmonious support of a singing performance, the concertmaster should be especially attentive. His/her attention distributes not only between his/her own hands, but concerns primarily a soloist. A concertmaster’s “circle of attention” contains such components as the pedal, the sound balance, the sound accompanying of the singer, the embodiment of a holistic artistic image, which requires a great strain of spiritual and physical forces. The conclusions identify the “keys to mastery” – the rules for young concertmasters. They are: to be able to listen to the soloist, to mentally sing and breathe with him/her; to constantly train to play music at sight; to always see 3 lines (the vocal one with the piano one); be with the singer “on one wave”: to empathize, support and lead, if necessary, his/her melodic line; not to distract the audience with unnecessary movements behind the instrument; to study the singer’s capabilities, his/her potential, taking into account the hall acoustics and the quality of the instrument; to find time for self-observation and rehearsals to improve the co-creation with the vocalist. Mastery and art are one: without one of these components, the vocalist will not reach the requisite professional height! Inspiration and artistry are the main components of an artistic personality, both of the singer and of his/her teacher-concertmaster. Maintaining the immediacy of feelings, openness to the Other-in-oneself is a pledge for the co-creation of the vocalist-soloist and concertmaster.
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Nagy-Sándor, Zsuzsa, and Pauwke Berkers. "Culture, Heritage, Art: Navigating Authenticities in Contemporary Hungarian Folk Singing." Cultural Sociology 12, no. 3 (July 13, 2018): 400–417. http://dx.doi.org/10.1177/1749975518780770.
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In Hungary, the decline of traditional peasant culture and its heritage has prompted urban revivals, leading to the acceptance of traditional Hungarian folk singing as a performing arts genre. Drawing from a series of in-depth interviews, this study shows how contemporary Hungarian folk singers navigate (define, learn, police) different forms of authenticity within the field of folk music. While we find that objectified authenticity – heritagized classification systems – is the dominant form of symbolic capital, the broader symbolic economy of authenticity is complicated by competing definitions of folk singing as, variously, culture, heritage, and art. Third-person authenticity is more highly regarded, but it is more difficult for contemporary urban folk singers to achieve because they were not socialized in peasant communities. Therefore, they use objectified authenticity such as ‘original recordings’ as a proxy for learning about living folk culture. Although objectified authenticity constrains the agency of artistic expression, it affords discriminatory creativity (choosing one’s own repertoire) and rationalized creativity (adapting traditional material to external values and contexts).
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Tereshchenko, A. K. "THE BEGINNINGS OF ESTABLISHMENT AND DEVELOPMENT FOR UKRAINIAN ACADEMIC VOCAL PERFORMING." Музикознавча думка Дніпропетровщини, no. 14 (January 19, 2019): 25–36. http://dx.doi.org/10.15421/221819.
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The purpose of this article is disclosing genic underground for germination and evolution of Ukrainian academic vocal performing. The target of this investigation is also revealing the most characteristic features of domestic vocal tradition into the stage concerning to formation of Ukrainian professional vocal art. The methodology of this exploration is formed by researcher on the basis employment of historical method, which connects with studying definite biographical information of Ukrainian academic singers. The systematic manner has the specific significance for special formation the investigative sequence of Ukrainian performers’ the most characteristic vocal criterions. The structurally analytical method26allows to hold out the logic of scientific disquisition, its structure and to texture the general conclusions. The scientific newness of the presented article is determined by appeal to phenomenon of Ukrainian vocal academic art into its stage beginning and further evolutional development. The discovering of not renowned facts from creative life of celebrated Ukrainian singers namely Mykola Ivanov, Semen Hulak-Artemovsky, Alexander Mishug, Kamil Everardy, Alexander Korobeychenko, Anatoly Solovyanenko and Lyudmila Yurchenko is novelty into the scientific work. Conclusions. The world famous creation of Ukrainian opera singers specifically Mykola Ivanov and Semen Hulak-Artemovsky is genic foundation of Ukrainian academic vocal performing. Namely these artists, from the middle of the 19th century, began its approving and passing to descendants on the highest professional level. The permanent connect with Italian vocal tradition as well as Ukrainian-Italian concert-creative relationships are the most peculiar traits, the characterological features of domestic vocal performing, into the stage organization of Ukrainian vocal art’s phenomenon. The successors of such a type art events in the 20th century were celebrated performers, exactly the singers and teachers Alexander Mishug, Kamil Everard, Alexander Korobeychenko, Anatoly Solovyanenko, Lyudmila Yurchenko and others.
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Hadlock, Heather. "Return of the repressed: The prima donna from Hoffmann's Tales to Offenbach's Contes." Cambridge Opera Journal 6, no. 3 (November 1994): 221–43. http://dx.doi.org/10.1017/s0954586700004316.
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The operatic diva, a singer of strange songs, and too often a turbulent, unkind girl, haunted the nineteenth-century imagination, as evidenced by the musical tales of E. T. A. Hoffmann and numerous retellings of those tales in theatre, ballet and opera. Each adaptation of Hoffmann's ‘Rat Krespel’, ‘Der Sandmann’ and ‘Don Juan’ reflects an ambivalent attitude towards women performers, whose potent voices make them simultaneously desirable and fearsome. How do these stories about female singers contrive to contain and manage the singing woman’s authority? And how does the prima donna's voice repeatedly make itself heard, eluding and overcoming narrative attempts to shape or contain its turbulent noise?Let me begin with an excerpt from ‘Rat Krespel’ (1818), which might serve as a parable for relationships between female singers and male music lovers in the Romantic imagination. Krespel, a young German musician, travelled in Italy and was fortunate enough to win the heart of a celebrated diva, Angela, whose name seemed only appropriate to her heavenly voice. Unfortunately, her personality was less than heavenly, and when she was not actually singing he found her violent whims and demands for attention very trying. One day, as he stood playing his violin:[Angela] embraced her husband, overwhelmed him with sweet and languishing glances, and rested her pretty head on his shoulder. But Krespel, carried away into the world of music, continued to play on until the walls echoed again; thus he chanced to touch the Signora somewhat ungently with his arm and the fiddle bow.
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Raunig, Gerald. "Singers, Cynics, Molecular Mice: The Political Aesthetics of Contemporary Activism." Theory, Culture & Society 31, no. 7-8 (December 2014): 67–80. http://dx.doi.org/10.1177/0263276413497406.
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On the basis of certain tensions between Jacques Rancière’s aesthetics and his political philosophy, the article tries to trace new modes of subjectivation in contemporary activism and art. It explores how the actors of the overlapping terrains of aesthetic and political practices organize ‘different forms, different spaces of expression and distribution of ideas’ in Rancière’s sense. Yet, analysing the practices of the Occupy movement, the Spanish M15 movement, and the dOCUMENTA (13) ‘agents’ AND AND AND as radically inclusive, polyvocal and transversal, it proposes a position that differs from Rancière’s rejection of activist art, a non-totalizing political aesthetics as a component of molecular revolution.
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Limarenko, Valerii. "Methodical competence of the future leader of the vocal ensemble: categorical analysis of the problem." Academic Notes Series Pedagogical Science 1, no. 189 (August 2020): 189–92. http://dx.doi.org/10.36550/2415-7988-2020-1-189-189-192.
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The article reveals the features of such concept as «The vocal ensemble future leader methodological competence». It is necessary to distinguish such concepts as «preparedness» and «competence». The essence of the following concepts was revealed: «competence», «pedagogical competence», «methodical competenc», the essence analysis and structure of the vocal ensemble has been carried out. The professional competence of a modern specialist is a complex multi-component concept. Researchers come to the common opinion that methodological competence is an integrative set of knowledge, skills, and abilities that characterize the personality and mediate the specialist professional experience, it is knowledge in the didactics field, teaching methods. Vocal training is a complex process, the training of the vocal ensemble future leader is impossible without it. The concept of «ensemble» is polysemantic. In musical performance - it means any joint performance of a musical work. Therefore, such combinations as trio, quartet, quintet, and others are called ensembles. The vocal ensemble future leader must know the theoretical material and be acknowledged about the methods of working with the vocal ensemble. In the educational-professional program 025.00.02 «Solo singing» of the first (bachelor's) level of higher education the program, general and professional competences are specified. The purpose of the program is to prepare a competent competitive artist of the ensemble, a teacher of primary specialized art schools, capable of concert-performing and vocal-pedagogical activities. Provide higher vocal education with the possibility of teaching in primary specialized art schools. Vocal-methodical competence is defined as mastery of the method of voice production, methods of development of vocal technique, singing culture, creative potential of the singer. Knowledge of the principles of classification of singing voices and the ability to correctly determine the type of singer's voice. Ability to design vocal and pedagogical repertoire for different types of singing voices (children, adults). Possession of methods of work on vocal exercises, vocals, vocal works of various form, genre, style. Ability to apply the acquired knowledge and skills in the process of teaching solo singing in primary specialized art schools.
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Thakur, Gail S. "The art of visual anthropology: An interview with André Singer." Anthropology Today 24, no. 2 (April 2008): 10–12. http://dx.doi.org/10.1111/j.1467-8322.2008.00570.x.
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Einarsdottir, Sigrun Lilja. "‘Leaders,’ ‘followers’ and collective group support in learning ‘art music’ in an amateur composer-oriented Bach Choir." British Journal of Music Education 31, no. 3 (August 14, 2014): 281–96. http://dx.doi.org/10.1017/s0265051714000242.
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The purpose of this paper is to demonstrate how amateur choral singers experience collective group support as a method of learning ‘art music’ choral work. Findings are derived from a grounded-theory based, socio-musical case study of an amateur ‘art music’ Bach Choir, in the process of rehearsing and performing the Mass in B Minor by J.S. Bach. Data collection consisted of participant observation, qualitative interviews and a paper-based survey. Findings indicate that in the process of learning a challenging choral work, participants use peer-learning as support and form supportive groups within each voice part, with ‘informal leaders’ supporting others (‘followers’) who are performing the work for the first time. On the other hand, performing a challenging work can also seem ‘intimidating’ for those less experienced singers. Findings also indicate that whereas followers (and the conductor) benefit from this group support, ‘leaders’ may experience a certain lack of musical challenge.
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Irmer, Thomas. "Traverses of art and audience participation: An interview with Olaf Nicolai." Maska 31, no. 181 (December 1, 2016): 20–25. http://dx.doi.org/10.1386/maska.31.181-182.20_7.
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On the roof of the German pavilion at the 2015 Venice Biennale, Olaf Nikolai produced boomerangs whose shape was adapted to local wind currents. He thus reified the conditions of their production, while each thrower individualised each boomerang through their throwing. The art work was thus created only with the help of the participants; similarly to the installation with singers entitled Non Consumiamo... at the exhibition curated by Okwui Enwezor at the Arena.
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Krimmer, Elisabeth. "“Eviva il Coltello”? The Castrato Singer in Eighteenth-Century German Literature and Culture." PMLA/Publications of the Modern Language Association of America 120, no. 5 (October 2005): 1543–59. http://dx.doi.org/10.1632/003081205x73380.
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This article investigates how eighteenth-century writers used the figure of the castrato as a privileged metaphor for the negotiation of class conflicts, gender concepts, and the nature of art. A reading of Johann Jakob Wilhelm Heinse's novel Hildegard von Hohenthal shows that Heinse uses the character of the (fake) castrato to celebrate the artificiality of gender, desire, and art, but his novel leaves class boundaries intact. Friedrich Schiller's poem “Kastraten und Männer” attacks aristocratic supremacy but naturalizes gender codes and equates masculinity and art.
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Zhou, Yi. "Verbal aspects of China’s vocal art system." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 137–49. http://dx.doi.org/10.34064/khnum2-21.09.
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Background. Art criticism, as part of the humanities, has long and productively used the terminology of related sciences. This is a systemic approach, the provisions of which significantly influenced the development of scientific thought in the XX–XXI centuries. Systematization and modeling greatly simplify the process of cognition and allow to highlight the parameters that determine the identity and ability to transform of each individual system. The same approach can be applied to the study of particular components of the meta-system of human culture. From this point of view, we will analyze the vocal culture of modern China as a whole, formed by the interaction of national and international cultural patterns – primarily by verbal and musical languages. The research methodology is determined by its objectives; it is integrative and based on a combination of general scientific approaches and musicological methods. The leading research methods are historical, genre-stylistic and interpretative analyzes. Results. In the system of artistic creativity, vocal art occupies a unique place because it is a product of the synthesis of music and words, sensual and rational, imaginative and conceptual. It is language that determines the identity of national schools of composition and performance. Chinese has an unprecedentedly long history of development – from the second millennium BC. All this time the national vocal culture of the country functioned as a system that included the following elements: – a body of philosophical works, the authors of which tried to determine the function of musical art (and, in particular, singing) in the development process of the state; – treatises, aimed at the comprehension of the art of singing as a separate area of human creativity and as a type of energy practice; – creative work of outstanding singers and epistolary testimonies about it; – the full scope of musical artifacts – folk, author’s songs, works of various vocal genres; – identifying areas of vocal performing, which for a long time had two basic locations – court and domestic; – specialists’ training system and concert establishments. Obviously, all these elements had to be united by something. Let’s point out two essential factors: mentality and language. It is known that the ethnic composition of the people who lived in ancient times in the territories of modern China was heterogeneous and only in the middle of the first millennium BC a single Chinese nation was formed. What brought people of different ethnicities together? Acceptance of common life values; gradual consolidation of Confucianism as a state-building ideology; attraction to figurative thinking and preference for contemplation. All this formed an interesting conglomeration of national artistic guidelines, which includes nature worship, philosophical understanding of the nature of art, understanding of the relationship between human existence and the laws of existence of the universe. It is from this position that the philosophers and artists of ancient China treated the art of singing, which was perceived as one of the means of communication with the world and a part of spiritual practices. This determined the uniqueness of Chinese folk song as one of the most important components of national culture. We note that, as in the culture of other countries, Chinese folk song was one of the most common musical genres, responding to changing of aesthetic dominants of society. From ancient times, the Music Department has been operating in China, one of the tasks of which was to select songs and approve the time and order of their performance. One of the most famous monuments is the famous Book of Songs «Shijing» (詩經), which presents the established genre and style typology of songwriting: domestic, labor, love songs and works that glorify the rulers. Another facet of folk art associated with the embodiment of fantastic images is reflected in another monument – «Chu Ci» or «Verses of Chu» (楚辭). These artifacts determined the development path of Chinese vocal culture. Now let’s turn to an important factor for our study – language. Due to its phonetic features, the Chinese forms a specific intonation of melos and unusual for the European listener vocal speech. Considerable attention in Chinese singing culture was paid to the emotional coloring of the “musical message”, the tension of which was achieved through timbre colors and the use of extremely high register. Another important aspect of the language that influenced China’s vocal culture is its rather complex rhythmic organization. Language affects the singer’s thinking, the formation of his organs of articulation. But can changes in vocal culture affect verbal language? Since the beginning of the twentieth century, the structure of the vocal art of the Celestial Empire has changed almost radically. Today it is practically identical to what we can find in any European country. But, in our opinion, there is something that significantly distinguishes the vocal art of modern China from other national vocal schools. It’s a question of language. After all, a singer who seeks to improve in the academic vocal art is forced to restructure the entire speech apparatus without which it is impossible to master bel canto as a basic vocal technique. Conclusions. The verbal component is an important part of vocal culture, because it is a representative of national picture of the world and through its structures embodies the specifics of thinking of a particular people. Language determines all the melodic parameters – semantic, intonation, compositional, emotional, etc. The most illustrative proof of this is the folk song culture, which is the basis for the further formation of academic genres of music. In this sense, China’s vocal culture is a unique phenomenon, in which academic culture is shaped by borrowing the cultural heritage of other countries. Moreover, one of the most important markers of this borrowing is the assimilation of music and speech resources namely.
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Burdine, Lucille, and William B. McCarthy. "Sister Singers." Western Folklore 49, no. 4 (October 1990): 406. http://dx.doi.org/10.2307/1499754.
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Risser, Rebecca. "Balancing the Art and Science of the Singing Voice." Perspectives on Voice and Voice Disorders 25, no. 3 (November 2015): 110–15. http://dx.doi.org/10.1044/vvd25.3.110.
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Voice therapy for elite singers developed alongside the emergence of performing arts medicine in the 1980s. By this time the field of clinical speech pathology had already established close working relationships with otolaryngologists and voice-related clinical research studies were being conducted to define treatment methods and their outcomes. In the intervening years, the art of delivering various therapy techniques, coupled with the science of vocal fold wound healing, have provided speech-language pathologists who specialize in voice a new foundation on which voice therapy is predicated and has allowed clinicians and their elite voice patients to expect epithelial vocal fold changes as a result of behavioral intervention.
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White, Kimberly. "Autobiographical Voices: Performing Absence in Singers’ Memoirs." Cambridge Opera Journal 30, no. 2-3 (November 2018): 165–85. http://dx.doi.org/10.1017/s0954586719000053.
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AbstractThis article explores the emergent genre of singers’ autobiographies in late nineteenth-century France. The moment singers took up the pen is telling, as it coincides with their dislodgement in the operatic marketplace from creator and collaborator to interpreter. In their life writings, Gilbert Duprez and Gustave Roger demonstrate a strong preoccupation with revising their public images and the histories that had been written about them. I argue that what critics felt was a flaw – the tenors’ predominant focus on relationships in their autobiographies, rather than on art – reveals how Duprez and Roger sought to reconstruct their artistic identities beyond the voice, locating their most profound contributions in their exchanges and actions within the musical community.
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Smirnova, Tetyana. "THE SPECIFICITY OF STUDENTS’ CREATIVE SELF-EXPRESSION IN THE PROCESS OF CONDUCTOR-CHORAL EDUCATION." 1 1, no. 1 (September 2020): 10–16. http://dx.doi.org/10.34142/27091805.2020.1.01.02.
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Object. The article considers the issues of the future singers` and choral conductors` creative self-expression in the process of conductor-choral education. Methods. Analytical, historical-comparative, retrospective method was used in writing the article. Results. As a result of the analysis and generalization of scientific psychological-pedagogical and art-literary literature, comparison, comparison of different opinions the definition of the concept «creative self-expression of students» is presents. It means a conscious act of discovering and affirming the individual, personal and subjective capabilities of the «I am» as a professional, defining himself as a creative person and individuality. The advantages of the study are to identify the specifics of future singers` and choir conductors` creative self-expression as students of higher education. The success of individual psychological self-expression is determined by good health, muscle activity, development of singing and conducting apparatus, students` cognitive and emotional sphere. A positive factor in the student` personal and professional self-expression is the formation cognitive and professional interests, spiritual values, character traits that are regulators of singers` and conductors` professional growth as creative individuals. Prominent indicators of the growth of singers` and choir conductors` creative self-expressio, their leading professionally important qualities are musicality as an integrative musical ability (musical hearing, metro-rhythmic ability, musical memory, musical thinking, musical imagination) and performing skills (performing reliability, artistry, instrumental, vocal and choral, conducting skills). The specifics of future singers` and choir conductors` personal self-expression are determined (on the basis of diagnosis) as a level of cognitive and professional interests, ideals and value orientations on spiritual and national-civic values. Conclusions. The study summarizes a set of character traits that form the basis of singers` and choir conductors` professional success of (honesty, loyalty to the beauty, the ability to consciously and artistically embody it in the choral sound; friendliness, responsibility, optimism). It was found that the level of students` creative self-expression as a subject of his own professional development depends on the timely diagnosis, stimulation, content and procedural support the process of his professional «I am» –concept formation. It is proved that the contradiction between the real and the ideal «I am» becomes the source of the singers` or choir conductors` personal and professional development. On the basis of scientific research on professional acmeology the ways of singers` and choir conductors` creative self-expression as bright individuals (integration of individual, personal, subjective structures into integrity, identification of specificity of individuality, selection of content of own «I am», systematization and generalization of individual and specificity self-expression taking into account all factors, identifying the uniqueness of the relationship of all substructures, determining the social orientation of their own self-expression in further professional activities).