Relevant bibliographies by topics / Singers, correspondence

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Academic literature on the topic 'Singers, correspondence'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 January 2023

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Journal articles on the topic "Singers, correspondence"

1

Taruskin, R. "Correspondence. Bach's singers." Early Music 31, no. 3 (August 1, 2003): 478. http://dx.doi.org/10.1093/em/31.3.478.

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Bucciarelli, Melania. "Senesino’s Negotiations with the Royal Academy of Music: Further Insight into the Riva–Bernardi Correspondence and the Role of Singers in the Practice of Eighteenth-Century Opera." Cambridge Opera Journal 27, no. 3 (November 2015): 189–213. http://dx.doi.org/10.1017/s0954586715000087.

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AbstractThis article examines the protracted negotiations between the castrato Francesco Bernardi, known as ‘Senesino’, and the Royal Academy of Music, documented in five letters sent by the singer to diplomat Giuseppe Riva between 1717 and 1720. They reveal a tight network of singers, patrons and agents, and highlight how Senesino negotiated not only for a role of primo uomo in the cast, but also for a role of artistic influence in London. This episode in Senesino’s career together with examples of ‘unofficial’ directorial practice and ‘hidden’ artistic influence of singers such as Nicola Grimaldi (‘Nicolini’), Antonio Bernacchi and Luigi Marchesi suggest a yet stronger presence of singers, especially castrati, in the economy of eighteenth-century opera than has been hitherto recognised.
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Kunel’skaya, N. L., S. G. Romanenko, O. G. Pavlikhin, E. V. Lesogorova, and Yu V. Luchsheva. "Ethiological factors of voice function impairment at singers of musical theatres." Russian Otorhinolaryngology 19, no. 2 (2020): 51–56. http://dx.doi.org/10.18692/1810-4800-2020-2-51-56.

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The analysis of the causes of the pathology of the vocal apparatus in vocalists is carried out. 136 singers were investigated in age from 23 till 70 years old with length of service from 3 till 42 years. It is shown that the occurrence of diseases of the larynx is affected by the state of the vocal apparatus itself, the volume and intensity of the vocal load. Of great importance is the quality of the singer’s vocal training, his age and length of service, the availability of additional work (concert, pedagogical activity), the correspondence of the performed parts to the singer’s technical and acting abilities, domestic and social living conditions. The structure of voice apparatus diseases also depend on type of singer’s voice and his nervous system status. Prevention of impaired voice function in musical theater vocalists should be aimed at eliminating all provoking factors.
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Watson, Peter J., and Thomas J. Hixon. "Respiratory Kinematics in Classical (Opera) Singers." Journal of Speech, Language, and Hearing Research 28, no. 1 (March 1985): 104–22. http://dx.doi.org/10.1044/jshr.2801.104.

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Anteroposterior diameter changes of the rib cage and abdomen were recorded during respiratory, speaking, and singing activities in six adult male subjects, all baritones with extensive classical singing training and performance experience. Data were charted to solve for lung volume, volume displacements of the rib cage and abdomen, and inferred muscular mechanisms. Separate major roles were inferred for different parts of the respiratory apparatus in the singing process. The abdomen served as a posturing element that mechanically tuned the diaphragm and rib cage to optimal configurations for performance. The rib cage operated as a pressure-flow generating element that regulated expiratory drive. And, the diaphragm functioned as an inspiratory element devoted to reinflating the lungs. Subjects' descriptions of how they thought they breathed during singing bore little correspondence to how they actually breathed. Implications for the training of singers are offered.
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Anae, Nicole. "“Brave Young Singers”: children's poetry-writing and 1930s Australian distance education." History of Education Review 43, no. 2 (September 30, 2014): 209–30. http://dx.doi.org/10.1108/her-01-2013-0002.

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Purpose – There has been virtually no explication of poetry-writing pedagogy in historical accounts of Australian distance education during the 1930s. The purpose of this paper is to satisfy this gap in scholarship. Design/methodology/approach – The paper concerns a particular episode in the cultural history of education; an episode upon which print media of the 1930s sheds a distinctive light. The paper therefore draws extensively on 1930s press reports to: contextualise the key educational debates and prime-movers inspiring verse-writing pedagogy in Australian education, particularly distance education, in order to; concentrate specific attention on the creation and popular reception of Brave Young Singers (1938), the first and only anthology of children's poetry written entirely by students of the correspondence classes of Western Australia. Findings – Published under the auspices of the Australian Council for Educational Research (ACER) with funds originating from the Carnegie Corporation, two men in particular proved crucial to the development and culmination of Brave Young Singers. As the end result of a longitudinal study conducted by James Albert Miles with the particular support of Frank Tate, the publication attracted acclaim as a research document promoting ACER's success in educational research investigating the “experiment” of poetry-writing instruction through correspondence schooling. Originality/value – The paper pays due critical attention to a previously overlooked anthology of Australian children's poetry while simultaneously presenting an original account of the emergence and implementation of verse-writing instruction within the Australian correspondence class curriculum of the 1930s.
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6

Dawosing, Jayganesh. "A Sociological Analysis of Bhojpuri Jhoomar in Mauritius." Advances in Social Sciences Research Journal 7, no. 5 (May 23, 2020): 230–39. http://dx.doi.org/10.14738/assrj.75.8220.

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To ensure a significant place among both the local and international Bhojpuri singers, the singers keep reproducing the cultural content of this type of Bhojpuri songs, called the ‘Jhoomar’ which literally means dancing in a circular motion. However, in this process of cultural evolution, the fear of either preserving the traditional or digressing from the latter will always be there. This paper deals with the sociological analysis of jhoomar songs of the present generation who create new lyrics in the Mauritian Bhojpuri songs. For entertainment purposes, some singers, at times, interpret the traditional forms in an expression of personal or group identity. The recent albums of certain of the artistes deal with contemporary issues, true to an articulation of social hierarchies, most notably race, gender and class. In correspondence to contemporary issues, a research question arises with the preservation of traditional form, how do the contemporary songs relate to broader social distinctions, especially class, race and gender? Fieldwork with local Bhojpuri singers has helped in understanding the significance of the study. This paper argues from a conceptual analysis of popular cultural significance of the study. The content of these jhoomar songs are relevant in culture and music of the 21st century, entailing fascinating issues of discussion.
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7

Alexander, Kimberly Ervin. "Heavenly Choirs In Earthy Spaces: The Significance Of Corporate Spiritual Singing In Early Pentecostal Experience." Journal of Pentecostal Theology 25, no. 2 (September 10, 2016): 254–68. http://dx.doi.org/10.1163/17455251-02502007.

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The phenomenon known as the heavenly choir was a common feature of early Pentecostal worship and revival, rivaled only by speaking in tongues. Participation in the heavenly choir was transformative of both singer and hearer, producing a desire for a fuller experience of God. The experience of participation in the communion of singers transformed the marginalized into prophetic leaders, their earthy meeting places became sanctuaries of ‘heaven below’. This transformation was subversive in that dominant cultural constructs based on race, gender, class, ethnicity, and age were weakened if not toppled. Interpretation of this phenomenon by participants involved an approach to Scripture more dynamic than the later biblicism, interpreters finding resonance with the worship scenes in the book of Revelation rather than dependence upon a one-to-one correspondence of events in the Acts narrative or discourse by Paul, subverting later doctrinal construction beholden to Evangelical schemes.
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Falls, J. Bruce. "Song matching in western meadowlarks." Canadian Journal of Zoology 63, no. 11 (November 1, 1985): 2520–24. http://dx.doi.org/10.1139/z85-373.

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Song playback to western meadowlarks (Sturnella neglecta) at Delta, Manitoba, using recordings of song types that the subjects had in their repertoires, showed that the tendency of males to respond with the same song type (match) depended on the source of the recording. Song-type matching decreased from own to stranger to neighbor recordings (not significantly above the chance level in the latter case). An explanation for these results is offered that combines elements of facilitation and neighbor recognition. Correspondence between response latency and intersong intervals of the responding bird suggested that matching song was entrained by the playback but nonmatching responses were not. This indicates that matching and nonmatching are qualitatively different responses. However, matching and nonmatching responses did not differ with respect to conventional measures of response strength. Matching directs a response to a particular singer and may facilitate one-to-one exchange of information, for example, concerning location of the singers. Comparisons are drawn with parallel studies of great tits (Parus major).
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Babington, Amanda, and Ilias Chrissochoidis. "Musical References in the Jennens–Holdsworth Correspondence (1729–46)." Royal Musical Association Research Chronicle 45 (2014): 76–129. http://dx.doi.org/10.1080/14723808.2014.950017.

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These extracts on music from the correspondence between Charles Jennens (1700–73) and Edward Holdsworth (1684–1746) reflect the authors' shared interests and (prohibited) political views. Though commonly known as the librettist of Messiah, Jennens was also a collector of music and art, and as such capitalized on Holdworth's travels as a tutor of young gentlemen on the Grand Tour. Many of the letters detail musical commissions and their fulfilment by a willing Holdsworth. In return, Jennens acted as Holdsworth's financial advisor, editorial consultant and publication adviser. Other discussions centre around the public and personal rating of singers and operas, in London and abroad, and include discussions of Handel's fortunes, his borrowing of music from Jennens's collection and his health. Mentions of personnel are not restricted to musicians but also encompass members of Jennens's family and of his and Holdsworth's social circles, many of whom were supporters of Handel.
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Forshaw, Juliet. "Osip Petrov, Anna Petrova-Vorobyova and the Development of Low-Voiced Character Types in Nineteenth-Century Russian Opera." Cambridge Opera Journal 28, no. 1 (March 2016): 37–77. http://dx.doi.org/10.1017/s0954586716000021.

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AbstractThis article delves into the lives and careers of two significant Russian singers: the bass Osip Petrov and his wife, the mezzo-soprano Anna Vorobyova, who created or inspired leading roles in operas by Glinka, Dargomïzhsky and Musorgsky. Over the course of a career that spanned some four decades, Petrov would become the most celebrated Russian bass of the nineteenth century; Vorobyova, whose career was cut short by a tragic accident, would turn her attention to the private sphere and incubate a younger generation of musicians. Drawing on reviews, memoirs and personal correspondence, I chart the influence of this couple not only on individual composers and operas, but also on the development of stock characters such as the father, the buffoon, the antihero and the trouser role.
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Books on the topic "Singers, correspondence"

1

Pisuisse, Jean-Louis. Mijn liefste lief: Brieven van Jean-Louis Pisuisse aan Fie Carelsen. 's-Gravenhage: SDU, 1989.

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2

Czerwenka, Oskar von. Lebenszeiten: Ungebetene Briefe. Wien: P. Neff, 1988.

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Jovanotti. Viva tutto! Torino: Add, 2010.

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4

Les choses qu'on ne dit pas. Paris: Archipel, 2006.

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5

Chaliapin, Fyodor Ivanovich. Maska i dusha: Moi sorok let na teatrakh. Moskva: Moskovskiĭ rabochiĭ, 1989.

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Chaliapin, Fyodor Ivanovich. Maska i dusha. Moskva: Vagrius, 1997.

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Chaliapin, Fyodor Ivanovich. Maska i dusha: Moi sorok let na teatrakh. Moskva: Soi︠u︡zteatr, 1989.

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Henius, Carla. Carla carissima: Briefe, Tagebücher, Notizen. Hamburg: Europäische Verlagsanstalt, 1995.

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1879-1964, Mahler Alma, and Willnauer Franz 1933-, eds. "Mein lieber Trotzkopf, meine süsse Mohnblume": Briefe an Anna von Mildenburg. Wien: Zsolnay, 2006.

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1923-1977, Callas Maria, ed. Maria Callas: Lettere d'amore. Milano: Mondadori, 2008.

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Book chapters on the topic "Singers, correspondence"

1

Singh Madra, Amandeep, and Parmjit Singh. "Ranjīt Singh’s Correspondence with the British, 1803." In “Sicques, Tigers, or Thieves”: Eyewitness Accounts of the Sikhs (1606–1809), 115–17. New York: Palgrave Macmillan US, 2004. http://dx.doi.org/10.1007/978-1-137-11998-8_10.

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2

Sutton, Emma. "Gender Wars in Music, or Bloomsbury and French Composers." In Virginia Woolf, Europe, and Peace, 33–48. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979350.003.0003.

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This chapter explores Woolf’s relationships with two important French women composers: Germaine Tailleferre and Nadia Boulanger. The former is singled out by Woolf in A Room of One’s Own as emblematic of the professional bias facing women composers. Boulanger and Woolf met in 1936, at a lunch with Ethel Smyth and Winaretta Singer (Princesse Edmond de Polignac). As her correspondence confirms, Boulanger and Woolf stayed in touch for some years and Woolf repeatedly referred to Boulanger’s example when reflecting on the misogyny and obstacles facing contemporary women artists, whether composers, painters or writers. Consideration of Woolf’s relationships with these women is placed in the larger context of their reception in the French and British press, exploring the role that their gender played in the critical reception of their work and aesthetic innovations.
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Kurbanova, Lidia. "THE EPISTOLARY SPIRITUAL DIMENSIONS OF THE UKRAINIAN DIASPORA ARTISTS." In Art Spiritual Dimensions of Ukrainian Diaspora, 234–57. Primedia eLaunch LLC, 2020. http://dx.doi.org/10.36074/art-sdoud.2020.chapter-11.

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The purpose of the section is to outline the spiritual dimensions of the epistolary of the Ukrainian diaspora artists and, in particular, one of its leading representatives – Pavlo Matsenko (1897–1991), who with his various activities made a significant contribution to the development of Ukrainian musical culture. Pavlo Matsenko’s multi-vector activity covers a wide field of activity in various directions: teacher, conductor, musicologist, composer, organizer of the musical and cultural life of the Ukrainian community in exile, editor, publicist. From a wide range of its addressees (more than 200), correspondence with Metropolitan Hilarion (Ivan Ohienko), choral conductors Oleksandr Koshyts and Myroslav Antonovych, composer Stanislav Lyudkevych, and singer Yosyp Hoshuliak was chosen for analysis. These are close to Matsenko personalities in spirit, whose interests coincided with his own. The main area of interest in these letters is the study of Ukrainian church music, as well as choral performance, concert activities, work with bands. Another area of correspondence is a discussion of folk songs origin and its significance for church singing, as well as the peculiarities of performing folk songs. As a result of the study, taking into account the study of epistological materials as source material, three stages of the process are identified – contextual, attributive, actualization, as well as components of spiritual dimensions of Pavlo Matsenko’s epistolary: emotional-motivational, moral-ideological, cognitive-axiological, activity-creative. The rich epistolary heritage of the artist allows to better understand certain events of his life, to fill gaps in scientific research on communication with other artists and to characterize certain features of his personality. Letters are an integral aspect of source studies, on the basis of which the image of Pavlo Matsenko as a spiritual person is created.
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