Relevant bibliographies by topics / Songs (High voice) with lute

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

Academic literature on the topic 'Songs (High voice) with lute'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 January 2023

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Journal articles on the topic "Songs (High voice) with lute"

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Ting, Liu. "Aesthetic principles of interpretation of early arias in the vocalist’s concert repertoire: air de cour." Aspects of Historical Musicology 27, no. 27 (December 27, 2022): 73–96. http://dx.doi.org/10.34064/khnum2-27.05.

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Statement of the problem. Nowadays, there has been a high demand for historically informed performance, including in the educational process. However, a young performer often faces not only technical problems, but also a lack of understanding of the performance style. So, the relevance of the topic of the article is caused by urgent needs of modern concert and stage practice related to historically oriented performance as well as by the task of modern music education to introduce the Baroque styles into the educational process of vocal performers. The article offers the experience of musicological reception of the early aria genre using the example of the French “air de cour” as the personification of European Baroque aesthetics. The genre, which is little known to both Ukrainian and Chinese vocalists, is considered from the standpoint of a cognitive approach, which involves a combination of practical singing technology with the understanding of the aesthetic guidelines of the baroque vocal style as an original phenomenon. One of the manifestations of it is the “sung dance” (singing in ballet) as the embodiment of artistic synthesis rooted in the musical and theatrical practice of France during the time of Louis XIV with its luxurious court performances, a bright component of which were “airs de cour”. To reveal the chosen topic it was necessary to study scientific literature in such areas as the issues of performing early vocal music (Boiarenko, 2015), the history and modernity of vocal art (Shuliar, 2014; Hnyd, 1997; Landru-Chandès, 2017); peculiarities of the air de cour genre, which are highlighted with varying degrees of detailing in different perspectives in the works of European and American scholars: 1) in publications on the synthetic opera and ballet genres in the time and at the court of Louis XIV, in particular ballet-de-cour (Needham, 1997; Christout, 1998; Verchaly, 1957; Harris-Warwick, 1992; Cowart, 2008); 2) special studies (Durosoir, 1991; Khattabi, 2013; Brooks, 2001); 3) monographs on Baroque music (Bukofzer, 1947); 4) reference articles by authoritative musicologists (Baron, 2001, the editors of Encyclopaedia Britannica and others). A study that would focus on the aesthetic principles of the modern vocal interpretation of air de cour as a sample of the early aria genre has not been found. Research results. Air de cour, the origins of which are connected with the secular urban song (voix-de-ville) in arrangements for voice and lute and lute transcriptions of polyphonic vocal works of the Renaissance, was popular in France, and later, in Europe at the end of the 16th and 17th centuries. As part of the popular synthetic theatrical spectacle – ballet-de-cour, which combined dance, music, poetry, visual and acting arts and flourished at the court of Louis XIV as an active means of sacralizing the king’s person, “air de cour” even in its name (which gradually replaced “voix-de-villes”) alludes to the social transformations of the French Baroque era with its courtly preferences. With the transition to an aristocratic environment, the link of the genre with its folk roots (squareness, metricity, melodic unpretentiousness) weakens, giving way to the refined declamation style of musique mesurée; the strophic repetitions of the melody with a new text are decorated by the singers with unique ornamentation (broderies), which is significantly different from the Italian. The poetic word and music complement the art of dance since air de cour has also adapted to ballet numbers, providing great opportunities for various forms of interaction between singing and dancing and interpretation on the basis of versioning – the variable technique of combinations, which were constantly updated. Vocal numbers in ballets were used to create various musical imagery characteristics. When choosing singers, the author of the music had to rely on such criteria as the range and timbre of the voice. As leaders, the creators of airs de cour used high voices. This is explained by the secular direction of the genre, its gradual separation from the polyphonic traditions of the past era: the highest voice in the polyphony, superius, is clearly distinguished as the leading one in order to convey the meaning of the poetic declamation, to clearly hear the words, turning the polyphonic texture into a predominantly chordal one with the soprano as the leading voice. Hence, the modern performing reproduction of air de cour, as well as the early aria in general, requires a certain orientation in the characteristics of the expressive possibilities of this particular singing voice; for this purpose, the article provides a corresponding classification of sopranos. So, despite the small vocal range and the external simplicity of the air de cour form, the vocalist faces difficult tasks, from deep penetration into the content of the poetic text and reproduction of the free declamatory performance style to virtuoso mastery of the technique of ornamental singing and a special “instrumental” singing manner inherited from Renaissance polyphonic “equality” of vocal and instrumental voices. Conclusions. What are the aesthetic principles of vocal music of the European Baroque period that a vocalist should take into account when performing it? First of all, it is an organic synthesis of music, poetry and choreography. The connection of singing with dance plasticity is inherent in many early vocal works. Hence the requirement not only to pay attention to the culture ofrecitation, pronunciation of a poetic text, understanding of key words-images, which precedes any performance interpretation of a vocal work, but also to study the aesthetic influences of various arts inherent in this or that work of Baroque culture. Air de cour differs from the German church or Italian opera aria as other national manifestations of the psychotype of a European person precisely in its dance and movement plasticity. Therefore, the genre of the early aria requires the modern interpreter to understand the socio-historical and aesthetic conditions of its origin and existence and to rely on the systemic unity (polymodality) of vocal stylistics. The prospect of research. There are plenty of types of vocal and dance plasticity in early arias; among them, rhythmic formulas and dance patterns of sicilianas, pavanes, and tarantellas prevail; movement rhythm (passacaglia). And they received further rapid development in the romantic opera of the 19th century. This material constitutes a separate “niche” and is an artistic phenomenon that is practically unstudied in terms of historical and stylistic integrity, continuity in various national cultures, and relevance for modern music and theatre art.
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Sequera, Hector. "Reconstructing William Byrd’s consort songs from the Paston lutebooks: a historically informed and computational approach to comparative analysis and musical idiom." Early Music 47, no. 4 (November 2019): 455–77. http://dx.doi.org/10.1093/em/caz069.

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Abstract This article outlines how computational analysis can be applied to the process of making and evaluating idiomatic reconstructions of polyphonic music from lute intabulations. It focuses on some of William Byrd’s consort songs that survive only as intabulations in one of the lute books owned by Edward Paston (1550–1630), London, British Library, Add. Ms. 31992. Fourteen of the consort songs survive as intabulations and full settings, and form the corpus used in this study; 15 survive only as intabulations needing reconstruction to return them to a performable state. After discussing the context of the pieces, the article presents three analyses: (1) to establish the differences between the tablatures and the full settings, (2) to study more closely these differences in order to inform reconstruction work, and (3) to evaluate three separate reconstructions of Byrd’s ‘In tower most high’ using the corpus and the data collected.
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Bialosky, Marshall, Andrew Imbrie, Theodore Roethke, and Donald Aird. "Roethke Songs [For] High Voice and Piano." Notes 50, no. 1 (September 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 (September 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 (September 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 (September 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 (January 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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Perry, Twila L. "Altered Voices and Gender-Bending: Prince, Camille, Opera, and Society." AMP: American Music Perspectives 2, no. 1 (February 1, 2021): 94–114. http://dx.doi.org/10.5325/ampamermusipers.2.1.0094.

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ABSTRACT During the 1980s Prince composed and produced songs under a variety of alter-egos. One alter-ego was a character he called Camille. As Camille, Prince sang in a voice altered by technology—it was high pitched and sounded feminine or androgynous. This article seeks to draw a connection between the androgyny in Prince’s appearance, music, and vocal performance in the 1980s, and in his Camille persona, and types of gender boundary crossings in three periods in the evolution of opera performance.
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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 (July 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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Khotimah, Siti Usrul, and Widy Esa Febriani. "The Use of Songs as Learning Media to Increase Students Listening Skill: How far It Works?" Conference on English Language Teaching 1 (June 19, 2021): 216–29. http://dx.doi.org/10.24090/celti.v1.20.

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Listening is part of four basic English that must be mastered. It becomes one of the important things that should be trained to reach the point of communication. Songs are media that well known in adult’s circumstance. The obtained information from listening will make the communication ideal, effective, and efficient. In fact, there are still so many students having difficulties in study listening. One of the factors that affected students is the teaching methods by teachers. Most of them especially in Senior High School only use voice record or DVDs which sounds robotically and make bored. Thus, this research aims to find out whether the utilization of songs can be effective way to help students increasing their listening skill or not. This paper utilizes quantitative and collects data from academic literature review. To overcome this problem for EFL students, songs are alternative media that can be used by teachers, because students prefer a relax and dynamic way of learning, rather than a static and tense of learning atmosphere. Music is loved by students to learn listening, because it is a part of life that have an entertaining purpose. In addition, songs are easy media to use. Learning using songs can be felt benefits include training empathy of students because they understand the meaning of the song deeply, fostering the musicality of the students by using songs and movements that stimulate the coordination of parts of the brain, as well as training the learning style of the students that is adjusted to the age of them. Songs are significant teaching tools in teaching ESL/EFL because, as most teachers find out, students love listening to music in the language classroom and they often hold strong views about music. This affinity with music makes songs vital tools to create a safe and natural classroom ethos and to overcome feelings of shyness and hesitation on the part of the learners.
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Dissertations / Theses on the topic "Songs (High voice) with lute"

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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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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.
Arts, Faculty of
Music, School of
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.
"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.
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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Sasnett, Kathleen Beth. "Twenty-five works for the dramatic soprano voice and orchestra a study guide /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1155060397.

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Hall, Emily. "Inside is the sky : for mezzo soprano and chamber orchestra." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83168.

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Inside is the Sky is a musical composition for mezzo soprano and chamber orchestra. It is a collection of four songs using poems by renowned Canadian poet Lorna Crozier: A Summer's Singing, In Moonlight, Tautologies of Summer, and Inner Space. The composer wishes to connect music and poetry on a fundamental level. The approach is to write music that responds not to the mere surface of the poems, but rather to their central poetic themes, by means of parameters intrinsic to music: harmony, rhythm, melody, and registral expanse.
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Books on the topic "Songs (High voice) with lute"

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Erickson, Robert. Postcards: Lute and mezzo soprano. Baltimore, MD (2617 Gwynndale Ave., Baltimore, MD 21207): Smith Publications, 1988.

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

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

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

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

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

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

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Richard, Strauss. Orchestral songs: Vier letzte Lieder = Four last songs. Helsinki: Ondine, 2002.

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

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Mendelssohn-Bartholdy, Felix. 24 songs. Van Nuys, CA: Alfred Publishing, 1992.

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Book chapters on the topic "Songs (High voice) with lute"

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Manning, Jane. "CECILIA McDOWALL (b. 1951)Four Shakespeare Songs (1991)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 177–79. 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, 112–14. 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, 139–42. 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, 81–83. 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, 223–25. 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, 161–64. 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. "ROB KEELEY (b. 1960)Five Songs on Poems by Stevie Smith (2000)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 123–26. 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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Manning, Jane. "MARK-ANTHONY TURNAGE (b. 1960)Three Songs (2000)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 220–22. 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. "CHARLOTTE BRAY (b. 1982)Sonnets and Love Songs (2011)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 15–19. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0006.

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This chapter assesses British composer Charlotte Bray’s Sonnets and Love Songs (2011). Bray’s musical style is cohesive, fluent, and evocative, with a strong harmonic sense and tonalities occasionally reminiscent of the English Romantics, albeit with a modernist ‘take’. The texts are by the distinguished Portuguese poet Fernando Pessoa, who revered Shakespeare as his model. They concern complex philosophical issues and dilemmas of life and love—three of the poems are actual sonnets. The composer has assembled her selection to describe a clear trajectory: from musings on innocence, through turbulence, to eventual liberation—an ambitious, bold concept, achieved with assurance. There is no getting away from the fact that the cycle demands a singer of exceptional accomplishment—the wide compass might indicate a bass-baritone, but the upper range is exploited mercilessly. Indeed, notes frequently have be held high in the voice, and many end with diminuendos, requiring technical skill in travelling through register changes.
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Manning, Jane. "DON KAY (b. 1934)Four Bird Songs from Shaw Neilson (2005)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 120–22. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0038.

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This chapter describes Tasmanian composer Dan Kay’s Four Bird Songs from Shaw Neilson (2005). The texts for this pleasing, fluent cycle are by the farmworker-poet Shaw Neilson, and reflect his close affinity with the natural world, especially the life of waterbirds. Kay’s palpable empathy with these unsophisticated but burningly sincere poems draws music of clarity and refinement. The frequent modal melodies and minor harmonies cannot help but call to mind Vaughan Williams and the English folk-song tradition, but Kay manages to inject an individual flavour by means of chromatic shifts and varied rhythms, especially in the last two, slightly longer, songs. A light young baritone with a safe high register would be ideal here. The piano writing is clear and uncluttered, with simple, repeated figurations, and there is no need to force the voice. Standard notation is used throughout.
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