Relevant bibliographies by topics / Songs (High voice), Unaccompanied

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

Academic literature on the topic 'Songs (High voice), Unaccompanied'

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

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Journal articles on the topic "Songs (High voice), Unaccompanied"

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Bialosky, Marshall, Andrew Imbrie, Theodore Roethke, and Donald Aird. "Roethke Songs [For] High Voice and Piano." Notes 50, no. 1 (1993): 395. http://dx.doi.org/10.2307/898783.

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McCauley, John, Lee Hoiby, and Emily Dickinson. "Four Dickinson Songs for High Voice and Piano." Notes 47, no. 1 (1990): 230. http://dx.doi.org/10.2307/940571.

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Leonardi, Gene, and David Amram. "Four Shakespeare Songs; For High Voice and Piano." Notes 44, no. 1 (1987): 168. http://dx.doi.org/10.2307/941014.

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Cassaro, James P., Alun Hoddinott, William Bergsma, Wilhelm Killmayer, Richard Wernick, and Stephen Oliver. "Six Welsh Folk-Songs; Arr. for High Voice and Piano." Notes 45, no. 1 (1988): 162. http://dx.doi.org/10.2307/941418.

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Klinck, Anne L. "Lyric Voice and the Feminine in Some Ancient and Mediaeval Frauenlieder." Florilegium 13, no. 1 (1994): 13–36. http://dx.doi.org/10.3138/flor.13.002.

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In the study of mediaeval European literature, especially that of France and Germany, the terms chanson de femme and Frauenlied have come to be conventional designations for a distinct type of poem—more broadly defined than a genre: a female-voice love-lyric in a popular rather than a courtly mode. To use the language of Pierre Bec, femininity here is “textual” rather than “genetic.” Most of these “women’s songs” are attributed to male authors, although there has been a tendency to trace the type back to preliterate songs actually composed by women. Goethe, Jakob Grimm, and others saw in the early German and Balkan Frauenlieder and Frauenstrophen the traces of “das älteste Volkspoesie.” The use of this terminology to designate a lyric in the female voice—irrespective of its authorship—goes back to Alfred Jeanroy, at the end of the last century, who defined chanson de femme as a woman’s monologue, usually sad, relating to love (158). Theodor Frings, whose description of the Frauenlied is probably the one that has been the most influential, makes clear that it is a universal, not merely a mediaeval, type. Although he focusses on Middle High German, Provençal, and Old French poetry, he includes examples ranging from Greek to Chinese.
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Ralston, Janette. "The Development of an Instrument to Grade the Difficulty of Vocal Solo Repertoire." Journal of Research in Music Education 47, no. 2 (1999): 163–73. http://dx.doi.org/10.2307/3345721.

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The purpose of this study was to design a valid and reliable instrument—the Ralston Repertoire Difficulty Index (RRDI)—to measure the difficulty of solo vocal repertoire. Another aspect of this study was to determine the RRDI's ability to be used by voice teachers of all experience levels and to discriminate songs' difficulty into levels. Seven criteria—range, tessitura, rhythm, phrases, melodic line, harmonic foundations, and pronunciation—were incorporated in the instrument. The RRDI was tested by 34 postsecondary voice teachers. Results of the study showed that each criterion was significantly related to one overall rating established by Boytim (1982). The results also indicated high validity and reliability, and analyses revealed that the RRDI discriminated across difficulty levels and was used similarly by teachers of all experience levels.
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Wang, Duangui. "The fret-harmonic content of the Chinese melos (on the example of samples for the voice and piano in the modern arrangement)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, no. 49 (2018): 100–114. http://dx.doi.org/10.34064/khnum2-49.07.

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Formulation of the problem. The present article is devoted to the mental differences of the Chinese song tradition and analyzed the peculiarities of fret structures upon harmonizing the melody by modern authors. The musical stylistics of the Chinese folk song is based on the synthesis of the intonation (melodic, fret and rhythmic) features of traditional Chinese music with the lexemes of European classical music. Its content reveals the analysis of a major-minor functional system, qualitative (bar) rhythmics, containing genre formulas and techniques of the textural presentation (various forms of polyphony). The purpose of the article is to reveal the stylistic originality of the Chinese song – on the one hand; and on the other hand, to reveal the fret-harmonic features relating Chinese music with the folklore of other nations. For the European ear, the fret-harmonic originality of the Chinese melos, in addition to pentatonics, is marked by synthesizing various elements of the systems of the pitch-high organization which have set in the history of European music: archaic, modal, and tonal-functional. The relevance of the topic is due to the absence in the European theory of melody (“melos”, in the terminology by B. Asafiev) of the national-characteristic component. The study of the fret-harmonic content of the Chinese melos will partially fill in this gap. The purpose of the study is to reveal the stylistic originality of the Chinese song – on the one hand, and on the other, to discover the fret-harmonic parameters that relate Chinese music to the folklore of other nations. The object of the study is China’s song tradition in the diversity of authentic and modern samples of materials existing in the notation; the subject is the melos of the Chinese folk song in its relations with other principles of intonation. The presentation of the main material. In most of the samples of modern Chinese folk songs, the modal principle of the pitch-high organization, characteristic of folk music and European professional music of the pre-classical period, is combined with the tonal system of European classical music. For example, in “The Shepherd’s Song” exposition, not so much a single tonal center orientation (according to the European classical romantic tradition) was revealed, but rather the basis on several equal tones-foundations: h, e, a and d. If the fret-harmonic content of the entry is to be viewed from the angle of modality, then the fret structure of this tune turns out to be a mixed diatonics, combining the scale of the Ionian frets from c and the Dorian frets from d with the step rising in cadence VII, and from the point of view of the tonal principle of the pitch-high organization – as a movement from the tone C-dur to the tone d-moll. In song 15, the modal principle of the pitch-high organization is absent, although elements of the modality can be heard due to the use of side triads and seventh chords. With all the variety of melodic and rhythmic formulas, genre semantics, it is precisely the fret-harmonic content of selected song samples that reveals the general principles of the pitch-high organization. This is the archaic diatonic, based on the frets of the traditional musical cultures of the world; modal principle; European functional harmonic system; elements of the extended tonality from the experience of the music of the turn of the 19th and 20th centuries. Their interaction constitutes the fret-harmonic specificity of the Chinese folk song tradition. The harmonization of the melodies selected as the material differs from the original by the presence of authorship; the fret-harmonic content, first of all, serves as its embodiment. Conclusion. Composers – authors of the modern arrangement of authentic melodies – are in search of an organic synthesis of various pitch-high systems and principles of organization. Among the main ones there is the archaic diatonics, based on the frets of the traditional musical cultures of the world; the modal principle; European functional harmonic system; the elements of an extended tonality borrowed from the experience of the music of the turn of the 19th and 20th centuries. By the nature of the interaction of the components the analyzed samples of Chinese melodies can be divided into several groups: 1) the songs in which the modal principle of the pitch-high organization prevails over the tone-functional one; 2) the songs, where both of these principles act simultaneously: for example, modal elements arise on a tonal basis; or on a modal basis – orientation to a single tonal center; 3) the cases in which the tonal-functional principle in melodies unambiguously prevails over the modal one; 4) the songs in which these principles “divide the spheres of influence”, acting in different sections of the form; 5) the samples of songs where the modal and tonal principles are in the organic unity, and they are not separated in time and do not suppress each other. Thus, the Chinese folklore material can be perceived by the ear, brought up in other musical traditions, quite adequately thanks to the reliance on the pitch-high systems that are universal for all musical cultures.
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Chatziprokopiou, Marios. "FROM TESTIMONY TO HETEROGLOSSIA: THE VOICE(S) OF LAMENT IN WE ARE THE PERSIANS!" Acotaciones. Revista de Investigación y Creación Teatral 1, no. 46 (2021): 151–82. http://dx.doi.org/10.32621/acotaciones.2021.46.06.

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We are the Persians! was a contemporary adaptation of Aeschy-lus’s The Persians presented in June 2015 at the Athens and Epidaurus Festival. Performed by displaced people from Afghanistan, Pakistan and Bangladesh, and directed by Yolanda Markopoulou, the piece grew out of the Station Athens group’s five-year theatre workshops. Extracts from the original play were intertwined with performative material brought to the project by the participants: from real-life testimonies to vocal improvisations, poems, and songs in different languages. High-lighting the historical thematic of the play, this adaptation was presented as a documentary theatre piece, and the participants as ‘modern-day heralds’ who provided on stage ‘shocking accounts’ concerning ‘contem-porary wars’ (programme notes, 2015). After briefly revisiting the main body of literature on the voice of lament in ancient drama and in Aeschylus’s The Persians in particular, but also after discussing the recent stage history of the play in Greece, I conduct a close reading of this adaptation. Based on semi-directed interviews and audiovisual archives from both the rehearsals and the final show,I argue that the participants’ performance cannot be limited to their auto-biographical testimonies, which identify their status as refugees and/or asylum seekers. By intertwining Aeschylus with their own voices and languages, they reappropriate and reinvent the voice(s) of lament in ancient drama. In this sense, I suggest that We are the Persians! can be read as a hybrid performance of heteroglossia, which disrupts and potentially transforms dominant ways of receiving ancient drama on the modern Greek stage.
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Kojima, Satoshi, and Allison J. Doupe. "Song Selectivity in the Pallial-Basal Ganglia Song Circuit of Zebra Finches Raised Without Tutor Song Exposure." Journal of Neurophysiology 98, no. 4 (2007): 2099–109. http://dx.doi.org/10.1152/jn.00916.2006.

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Acoustic experience critically influences auditory cortical development as well as emergence of highly selective auditory neurons in the songbird sensorimotor circuit. In adult zebra finches, these “song-selective” neurons respond better to the bird's own song (BOS) than to songs of other conspecifics. Birds learn their songs by memorizing a tutor's song and then matching auditory feedback of their voice to the tutor song memory. Song-selective neurons in the pallial-basal ganglia circuit called the anterior forebrain pathway (AFP) reflect the development of BOS. However, during learning, they also respond strongly to tutor song and are compromised in their adult selectivity when birds are prevented from matching BOS to tutor, suggesting that selectivity depends on tutor song learning as well as sensorimotor matching of BOS feedback to the tutor song memory. We examined the contribution of sensory learning of tutor song to song selectivity by recording from AFP neurons in birds reared without exposure to adult conspecifics. We found that AFP neurons in these “isolate” birds had highly tuned responses to isolate BOS. The selectivity was as high, and in the striato-pallidal nucleus Area X, even higher than that in normal birds, due to abnormally weak responsiveness to conspecific song. These results demonstrate that sensory learning of tutor song is not necessary for BOS tuning of AFP neurons. Because isolate birds develop their song via sensorimotor learning, our data further illustrate the importance of individual sensorimotor learning for song selectivity and provide insight into possible functions of song-selective neurons.
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Yue, Teng. "Methods of teaching singing to children and to the youth subject to the requirements of educational psychology." Moscow University Pedagogical Education Bulletin, no. 2 (June 29, 2019): 96–102. http://dx.doi.org/10.51314/2073-2635-2019-2-96-102.

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Vocal music is a combination of artistic language and musical sound that create vivid melodic and poetic patterns. With the help of words and sounds romances and songs richly express people’s thoughts and feeling. Song is a special language of mankind, one of the most important genres in the art of music. The art of vocal music is of great interest and it does not depend on age. In particular, the age level of children who start learning music becomes lower. The high importance of the continuing education has resulted into the creation of additional requirements for educational institutions and education quality of singing teachers. The academic experience shows that voice instructors not only teach music and vocal skills but also conduct researches within the educational and developmental psychology.The purpose of the article is to analyze the process of teaching young students vocal music as a stimulating and teaching method including creation of effective training programs in the area of vocal music. Vocal courses should both attract students’ attention and enjoy them, therefor the teacher is supposed to be empathetic towards students in the process of teaching.
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Dissertations / Theses on the topic "Songs (High voice), Unaccompanied"

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Beaulieu, Marc. "Temps en temps = (Times in time) : music for voice and instruments in a multi-track recording environment." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27482.

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TEMPS EN TEMPS (times in time): Music for voice and instruments in a multi-track recording environment, by Marc Beaulieu, is a work meant to be experienced on many levels of perception. This analysis attempts to present the work at its most important (relevant) levels.<br>This work is written for a multi-track recording studio. The first section of this thesis describes the expanded possibilities of compositional procedure, orchestration and vocal/linguistic construction inherent in this particular medium.<br>The concept of the work is deeply rooted in the sociological thesis expounded in Alvin Toffler's "The Third Wave". These sociological 'undertones' and their bearing on the background structure of the work are examined in the following section of the thesis.<br>The subsequent sections of the thesis introduce the perceptual and conceptual aspects of the overall musical language, and discuss essential characteristics of the harmonic, rhythmic and linguistic fabric of the work as well as special applications of studio recording techniques such as digital sound processing, sampling and mixing. This leads to a discussion of formal structure based on three (3) conceptual waves co-existing and interacting in time.
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Lee, Hyun Min. "French art songs for high voice by famous opera composers." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3198.

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Bieritz, Gerald L. "The Songs of David Amram: A representative analysis and review of published vocal music for accompanied and unaccompanied voice." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2913/.

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David Werner Amram III, born in Philadelphia in 1930 is a celebrated American composer whose works have increasingly gained worldwide attention. His compositions embrace many genres including incidental music, film scores, symphonies, concertos, sonatas, instrumental trios, quartets, cantatas and operas as well as songs. One of Amram's earliest published songs, Pull My Daisy, is from his musical score for the experimental film of the same name. The song, text by Allen Ginsberg, Neal Cassady and Jack Kerouac, is set in a jazz style. Twelve of his songs, published in three collections are drawn either from his incidental music for Shakespeare plays or from his chamber opera, Twelfth Night. Another group written for baritone voice, wind and string quintets is entitled Three Songs for America. Trail of Beauty for mezzosoprano, oboe and orchestra contains four settings of Native American texts. The first chapter of this paper provides a biography of the composer. Succeeding chapters give some analysis of representative songs from each published group, background to their composition, texts, information from reviews where available, and the composers own comments from telephone interviews with the writer. An appendix contains brief illustrations of music from representative songs. It is observed that Amram's multifaceted musical interests have led him to write appealing and interesting music, both instrumental and vocal.
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Mitchell, Mark Howard. "Season songs : a song cycle for voice and orchestra." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32242.

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Season Songs is a song cycle for mezzo-soprano (or tenor) and medium sized orchestra (a perfoming version for voice and piano is appended). There are four songs and an orchestral prelude. The poems are by various authors and provide the programmatic elements of the cycle in that each poem is set in a different season of the year and time of day: winter/morning, spring/afternoon, summer/evening, and autumn/night respectively. The title of the prelude sets it just before dawn. The music of the prelude and the last song is closely related both motivically and tonally, thus reinforcing the cyclical nature of the work. The accompanying commentary seeks to explain the compositional processes and aesthetic principles which guided the creation of Season Songs. The music explores nonfunctional tonality, in that means other than traditional tonic-dominant (i.e., V-I) relationships are sought by which to create a sense of forward propelled harmonic motion. This sense of harmonic "trajectory", in conjunction with appropriate rhythmic proportions, is held to be one of the most important factors contributing toward the sense of departure and return, tension and resolution in the music. The main means used toward this end is a four-note source cell which governs much of the harmonic and motivic activity in the work, from the most local level of leading motives of individual songs to the broadest level of key relationships among songs. The harmonic manifestation of the source cell promotes root movement by major thirds and minor seconds on the local as well as broad levels. Sonorities associated with traditional tonality, such as open fifths in the bass and major or minor triads, are common, although the contexts in which they are heard are usually non-traditional. The metric pulse is usually distinctly articulated and readily intelligible, although changes in metre are frequent in most of the songs. The text setting aspires to a directness of expression. The words will be intelligible in performance and the music reflects and magnifies the emotional content of the the text. While there are several levels on which the music can be appreciated, over-obscurity is avoided, as a rule, especially in the composition of the musical surface.<br>Arts, Faculty of<br>Music, School of<br>Graduate
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Weirmeir, Jude Thomas. "Aspic trails : [for soprano, flute, and 'cello : 2004-06 : opus -1] /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236632.

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Nakano, Koji. "Time song II : howling through time : for female singer, flutist, and percussionist /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236635.

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Walls, Jay Alan. "Autographs 1928 : Four Songs for Soprano and Chamber Ensemble." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279054/.

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Autographs 1928: Four Songs for Soprano and Chamber Ensemble is a composition of approximately 16 minutes' duration and is scored for mezzo-soprano, flute, oboe, clarinet, horn in F, viola, violoncello, one keyboardist (piano and celesta), and two percussionists (marimba, xylophone, chimes, timpani, bass drum, temple blocks, triangle, and slapstick). The work consists of four songs and four readings with texts from Walls's maternal grandmother's autograph book. The composition opens with a reading and alternates between readings and songs. The music is intended to reflect the playful, tender and humorous nature of the lyrics.
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Frehner, Paul (Paul Anton). "Souvenirs du vent : pour soprano et orchestre de chambre = for soprano and chamber for orchestra." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28027.

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Souvenirs du vent is a composition for soprano and chamber orchestra with a duration of approximately 16'.30". The piece consists of three movements, a prelude, two interludes and a postlude. The poems set in the three movements were chosen for their similar subject matter, the wind. This common subject is emphasized by a music in which both the large-scale and small-scale formal divisions are blurred through structural counterpoint. The poets of the three poems are all from the Montreal area; they are: Emile Nelligan, Claude Brouille and Remi-Paul Forgues.
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Lackey, William Joseph Mobberley James. "Ritual of the body electric a multimedia work scored for soprano, chamber ensemble and electronics /." Diss., UMK access, 2009.

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Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2009.<br>"Five dances and nineteen musicians are featured in the work"--p. ii. "A dissertation in music composition." Advisor: James Mobberley. Duration: 30:00. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 25, 2009. Online version of the print edition.
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Monroe, Deborah Jean. "Prayers of adoration, confession, thanksgiving and supplication a composition for soprano and chamber ensemble /." connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/monroe%5Fdeborah%5Fjean/index.htm.

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Thesis (M.M.)--University of North Texas, 2004.<br>For soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. Duration: 14:00. Includes commentary by composer. Includes bibliographical references (p. 33-35).
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Books on the topic "Songs (High voice), Unaccompanied"

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Goehr, Alexander. The mouse metamorphosed into a maid: For unaccompanied voice, op. 54 = für Stimme ohne Begleitung. Schott, 1993.

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Feldman, Morton. Only: For voice solo (1976). Universal Edition, 1996.

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Liszt, Franz. 25 songs for voice and piano: High [voice]. International Music Co., 1998.

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Franz, Robert. 32 songs for voice and piano: High [voice]. International Music Co., 1993.

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Duke, John. Three songs: High voice and piano. Southern Music Co., 1989.

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Imbrie, Andrew. Roethke songs: High voice and piano. C.F. Peters Corp., 1990.

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name, No. Canadian art songs for high voice. Alberta Keys Music Publishing, 2003.

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Godin, Robert. Full circle: For amplified voice. Soundarts Press Editions, 1987.

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Borodin, Aleksandr Porfir'evich. 12 songs for voice and piano: Medium high [voice]. International Music Co., 1994.

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Hoiby, Lee. Thirteen songs for high voice and piano. G. Schirmer, 1990.

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Book chapters on the topic "Songs (High voice), Unaccompanied"

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Manning, Jane. "TIM EWERS (b. 1958)Moondrunk (2000)." In Vocal Repertoire for the Twenty-First Century, Volume 2. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0022.

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This chapter discusses English composer Tim Ewers’s Moondrunk (2000). This short piece is a confident and clearly imagined setting of an English translation of the first poem of Arnold Schoenberg’s 1912 masterpiece for voice and ensemble, Pierrot Lunaire, Op. 21. Though brief, it should prove a useful and characterful item for a recital programme, especially one containing lengthier pieces, perhaps based around other works from the Second Viennese School or, alternatively, a collection of songs about the moon. The tessitura is wide-ranging, but within the reach of most voices, although a female voice was originally envisaged, in direct reference to Schoenberg’s seminal work. The musical idiom is pleasingly logical in its chromaticism, with frequent use of tritones. As always, when singing unaccompanied, the vocalist will need to be scrupulous about tuning intervals, avoiding microtonal slippage. Despite moments of freedom and rubato, rhythmic discipline is an important factor, and a sense of pulse needs to be preserved. Within this modest time span, the singer has to create and sustain a welter of shifting nocturnal moods, both threatening and intoxicating.
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Manning, Jane. "PRIAULX RAINIER (1903–86)Cycle for Declamation (1954)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0070.

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This chapter looks at Priaulx Rainier’s piece for unaccompanied voice, Cycle for Declamation. Here, timeless, inspiring texts from John Donne’s Devotions (1624) receive music of the finest calibre. There are no flashy displays here, but a series of ringing phrases, not all of which lie easily in the voice at first. The work lies rather better for tenor than soprano, because of the tessitura, which often focuses around the top of the treble stave, where clear articulation could prove difficult with the higher vibrations. This is especially true of the first movement. The second exposes a potentially vulnerable, transitional area of the voice while requiring dynamic subtlety. The composer, ever-practical, suggests that the whole work can be transposed to make it more comfortable for other voices. This could, however, modify the gleaming colours resulting from the high pitches.
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Manning, Jane. "CECILIA McDOWALL (b. 1951)Four Shakespeare Songs (1991)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0050.

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This chapter examines Cecilia McDowall's works. It shows that the cycle featured here is suitable for a youthful, light-voiced soprano with a well-placed upper range. McDowall, justifiably admired for her choral writing, has a great empathy with the way the voice works and feels, and she consistently displays a deft touch and fine ear, combined with a strong awareness of practicalities. The four songs are well contrasted, and they offer ample scope for the singer to exhibit a degree of vocal virtuosity without being unduly stretched in portraying these disparate characters with skill and aplomb. The tonal idiom, notated in standard fashion, replete with key signatures, is agreeably fresh and direct, and the music flows along with a natural momentum and openness of expression. A relatively simple but effective piano part supports the voice, often illustrating and embellishing the texts. Vocal lines cover a broad compass, and some sit rather high, but in these instances the composer wisely avoids strain by allowing the voice to relax while refocusing on the lower range.
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Manning, Jane. "THOMAS HYDE (b. 1978)Three Larkin Songs (2003)." In Vocal Repertoire for the Twenty-First Century, Volume 2. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0036.

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This chapter assesses Thomas Hyde’s Three Larkin Songs (2003). These three short, contrasting songs to richly-layered Philip Larkin texts constitute a cycle that is a boon for young singers seeking a piece of modest demands and unobtrusive craftsmanship which lies easily in the voice. A touching slow movement is framed by two fast-moving numbers, distinct in character. Even a baritone should not be taxed by the tessitura—the range is highly practical for all except basses and altos. Obligingly, the composer even offers to transpose the songs to suit individual singers. This is a return to an earlier practice, when vocal sheet music was issued in different keys: Low, Medium, or High. Piano parts, economically structured and relatively undemanding, are tailored sensitively to the voice part in perfect balance.
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Manning, Jane. "KAREL HUSA (1921–2016)Twelve Moravian Songs (1957)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0040.

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This chapter presents folk songs from Czech-born composer and conductor Karel Husa. These folk songs demonstrate Husa’s unfailing sensitivity and expertise when confronted by a modest canvas. The twelve songs provide plenty of contrast in mood and style, despite the overall simplicity of the vocal lines. The composer states that he has barely altered the original melodies, and certain idiomatic inflections are reflected in the judicious use of grace notes. Here, the composer skilfully blends traditional and modern elements. With such plain, exposed lines, often in mid-voice, purity of tone is essential to convey the words clearly. Piano parts are, however, more elaborate, transforming the pieces into high-quality ‘art songs’.
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Manning, Jane. "DAVID DEL TREDICI (b. 1937)Four Songs (1958–1960)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0023.

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This chapter discusses some James Joyce settings composed by David Del Tredici. It shows how these songs can stretch the singer’s resources, but in a constructive way. Here, Del Tredici has an innate understanding of the voice and its capabilities, and there is an enticing array of vocal figurations which can engage the performer. A high level of musicianship is called for, however, as well as an accomplished pianist. All four songs are direct and persuasive in their communicative appeal, aided by the well-loved texts. These pieces date from an earlier period in Joyce’s output, when he embraced modernism and atonality, but the skill and fluency of his writing is always evident.
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Manning, Jane. "HUW WATKINS (b. 1976)Three Auden Songs (2008)." In Vocal Repertoire for the Twenty-First Century, Volume 2. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0069.

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This chapter explores Welsh composer Huw Watkins’s Three Auden Songs (2008). Written for the flexible high-lying voice of the tenor Mark Padmore, these three settings of W. H. Auden constitute an attractive and well-varied cycle which will sit well amongst more established pieces, and should prove a valuable addition to the tenor repertoire. It was commissioned by the Théâtre Royale de la Monnaie in Brussels. The musical language is chromatic, quasi-tonal, and highly accessible, and, as to be expected, the composer’s writing for piano is idiomatic, achieving a distinctive character for each song. Vocal lines are rewardingly lyrical and words are set with care for clarity and ease of attack. The music is phrased naturally to match the flow of the text, so the singer should have no difficulty in planning breaths. The ability to launch and sustain an even tone will be shown to full advantage.
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Manning, Jane. "BENJAMIN LEES (1924–2010)Songs of the Night (1952)." In Vocal Repertoire for the Twenty-First Century, Volume 1. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0046.

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This chapter takes a look at six songs by Benjamin Lees. Here, the songs are well balanced to complement one another. The fourth, with its evocative, pictorial piano figurations and ecstatically floating vocal lines, is the most substantial. This cycle needs a singer with a distinctive, sumptuous but focused tone, and the requisite stamina to scale long, luxuriant phrases which go from rapturous lyricism to forthright declamation. The chapter shows how the singer is often left suspended on high notes at the ends of phrases, which means keeping a firm grip on support muscles up to the very last moment. Arrestingly bold piano parts pilot the voice along, and illustrate the words in a manner reminiscent of French vocal masters. The resonant texts are by a poet whose work Lees has often set, and with whom he feels a strong kinship.
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Manning, Jane. "MARK-ANTHONY TURNAGE (b. 1960)Three Songs (2000)." In Vocal Repertoire for the Twenty-First Century, Volume 2. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0068.

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This chapter describes British composer Mark-Anthony Turnage’s Three Songs (2000). This assured, agreeably compact cycle should prove a boon to baritones seeking a winning concert item by an established British composer. Phrase lengths are judged perfectly and the range and timbres of the baritone voice are heard with unfailing accuracy. Word-setting is impeccable and plentiful dynamics and nuances help to guide the interpretation. The first two poems celebrate cats (‘The Singing Cat’ and ‘Mourned’—a eulogy for a departed pet); and the last song reflects on the merits of animals in general (‘Last Words’). The score is presented with exemplary clarity, so that performers can assimilate it quickly. The ‘friendly postmodern’ idiom should not prove a barrier—piano parts are light and spare, so useful pitch-cues can be easily heard. The singer will need to be conscientious about tuning intervals. As the piece progresses, there are some wide leaps, but these are vocally gratifying. Although the work is not particularly taxing, it needs a crisp, neat delivery and a secure high range, as well as a lively presence and an instinct for characterization.
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Manning, Jane. "ROB KEELEY (b. 1960)Five Songs on Poems by Stevie Smith (2000)." In Vocal Repertoire for the Twenty-First Century, Volume 2. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0039.

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This chapter explores British composer and pianist Robert Keeley’s Five Songs on Poems by Stevie Smith (2000). The distinctive flavour of Stevie Smith’s poems—wistful, fey, and mordantly perceptive by turn—is captured in music of fluency and confidence, the subtle layers of the texts unpeeled with skill and empathy. Though the range indicates a mezzo, one or two high-lying repeated fragments do require the special lightness and agility more usually found in sopranos. The lowest notes, however, must have ‘bite’, and a weightier, more dramatic voice will have the advantage in riding the denser textures of the final song. The singer needs to be versatile, able to convey unaffected joy, bitter foreboding, and heart-on-sleeve longing, with the lithe, quirky exuberance of Song No. 3 (‘Le Singe qui swing’) providing a cheerful interlude. In general, lines move easily and cover a wide range. Keeley has a penchant for repeated, catchy ‘motto’ fragments in both voice and piano. These linger in the memory and contribute to a disciplined, clear structural impression.
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