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Weidinger, Eli Benjamin. "The Sopranos Experience." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4610.
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My thesis explores what I call the "Sopranos Experience," which draws upon both the historical conventions of the gangster genre as well as the aesthetics and economics of pay-cable television to complicate The Sopranos' (HBO, 1999-2007) psychological relationship with the 21st-century, neoliberal American audience. The Sopranos Experience explicates how wavering identifications and dis-identifications that develop for the spectator through the series' form and content draw the responsibility of an audience away from moral ultimatums that attempt to finalize their experience with the genre, and towards a more personal ethical entanglement with the characters and their socioeconomic anxieties and desires. The ethical entanglement highlighted by The Sopranos reveals an entanglement that has always existed for the gangster genre throughout its history that has been recognized, but not thoroughly explored by previous gangster scholarship.
Because of the The Sopranos' psychotherapy story arc through Tony's (James Gandolfini) relationship with Dr. Melfi (Lorraine Bracco), psychoanalysis plays a key role in the Sopranos Experience. The serial form and narrowcasting develop a more in-depth psychological relationship between the spectator and the characters than seen in previous gangster genre films. Through the psychoanalytic theory of Jean Laplanche, I argue the spectator's closer relationship with the series not only results in the spectator's constitution of self through the fictional characters, but that this constitution of self extends into their lived, everyday experiences with others.
In this discussion of the psychological connection between the spectator and the characters, their shared anxieties about and desires for socioeconomic stability in a neoliberal environment mobilizes the spectator's relationship not just with the series, but with others in their lives. In recognizing their atomized role in the viewership experience, The Sopranos allows the spectator to make ethical demands about their atomization and vulnerability in a neoliberal society. Because they can recognize the collective's similar situation, the spectator is situated to make larger demands about socioeconomic systems that atomize the individual.
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Monforte, Marika. "L'italianità in traduzione audiovisiva: "The Sopranos"." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amslaurea.unibo.it/20849/.
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Il fenomeno "The Sopranos" è stato un evento mediatico che ha influenzato la storia della televisione per quasi un decennio. Amato e anche criticato, è stato centro di discussione per il suo impatto sociale, soprattutto per le soluzioni narrative del suo creatore David Chase, capace di plasmare un'opera di meta-mafia, se così si può dire: una serie su alcuni mafiosi che si interrogano sulla loro vita di mafiosi.
Lo scopo di questa tesi è quello di analizzare questo programma televisivo sotto l’aspetto socio-culturale e traduttivo, prendendo in esame la rappresentazione dell’italianità e l’impatto su diversi tipi di spettatori.
Il Capitolo 1 introduce alcune nozioni teoriche ed esplicative che serviranno a comprendere meglio il contesto nel quale verrà effettuata l’analisi socio-culturale e traduttiva. Gli stereotipi, l’italianità, i memes ed un accenno al Cultural ventriloquism sono necessari affinché si possa circoscrivere il campo di analisi del testo
Nel Capitolo 2 conosciamo meglio i personaggi, la trama e l’universo “Soprano”. È necessario conoscere la struttura della sceneggiatura e soprattutto il protagonista principale del programma: Tony Soprano.
Nel Capitolo 3 vi è la vera e propria analisi socio-culturale e traduttiva di un episodio in particolare, “Commendatori”, puntata ricca di spunti di riflessione sull'italianità in traduzione. Nella prima parte del capitolo viene fatta una piccola introduzione sul doppiaggio e la sua storia per poter poi compiere in maniera efficace, nella seconda parte, l’analisi tecnica.
Il Capitolo 4 affronta il tema dell’accoglienza dello show da parte del pubblico, mettendo a confronto due tipi di audience molto diversi fra loro, ovvero quella statunitense e quella italiana.
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Osborne, Katherine C. "Registration Strategies of Professional Operatic Mezzo-Sopranos." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1438088454.
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Cláudio, Sara Luísa Duarte e. "Modelo tridimensional para atribuição de subclasses vocais a sopranos." Master's thesis, Universidade de Aveiro, 2012. http://hdl.handle.net/10773/9658.
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Mestrado em MúsicaA classificação vocal é um fator de primordial importância na formação e progressão de carreira de um cantor clássico. Apesar disto, os professores de canto nem sempre estão de acordo com as classificações atribuídas, dada a controvérsia que envolve os sistemas de classificação vigentes, baseados principalmente em parâmetros subjetivos. Os poucos trabalhos de ciência vocal que têm tentado procurar medidas objetivas de classificação vocal também ainda não respondem a todas as questões, nomeadamente as relacionadas com os fatores distintivos de vozes dentro de um mesmo naipe (ou categoria vocal), responsáveis pela atribuição de repertório. Com este trabalho pretende-se criar um modelo de atribuição de subclasses vocais baseado em parâmetros acústicos, fisiológicos e aerodinâmicos, que se correlacionem e que prevejam os resultados da avaliação percetual auditiva, normalmente utilizada numa classificação vocal. Para tal, procedeu-se à gravação multicanal de onze sopranos, durante a performance de uma ária de ópera e de um diminuendo repetindo a silaba /pae/ em diferentes notas. As gravações simultâneas de áudio, electrolaringografia, pressão intraoral e fluxo de ar permitiram a avaliação de parâmetros acústicos, fisiológicos e aerodinâmicos. O sinal áudio permitiu ainda a realização de um teste percetual auditivo, realizado por 19 avaliadores que tinham que classificar, ao longo de uma escala visual analógica, a voz das participantes entre os extremos “soprano ligeiro” e “soprano dramático”. Da triangulação dos dados acústicos, fisiológicos e aerodinâmicos verificou-se que o modelo que melhor representaria os resultados da avaliação percetual é aquele que inclui os parâmetros de intensidade sonora equivalente e limiar minímo de pressão de fonação para a nota Si4. Aplicando este modelo, a correlação entre os resultados do teste perceptual auditivo e da aplicação deste modelo é de 0.87. Os resultados apoiam a ideia de que a nota Si4 parece particularmente importante na distinção entre diferentes categorias de soprano, uma sugestão que requer investigação futura.
Classifying a voice is a matter of great importance to classical singing: it defines a singer’s repertoire and career. However, voice classification is sometimes controversial and different systems exist. Voice science has attempted to unveil the underlying complexity, testing various explanations. Acoustical, morphological and physiological differences have been found between different voice categories; however, within the same voice category, the understanding of the factors crucial to Fach differentiation is still far from complete. Eleven sopranos were recorded using a hybrid system for audio, electrolaryngograph, intra-oral pressure and air flow. Singers were asked to: (i) perform the aria “O mio babbino caro”, by G. Puccini, (ii) sing a diminuendo while repeating the syllable /pae/ at different pitches. Acoustical, physiological and aerodynamic aspects of voice production were measured. Excerpts of the aria were presented to a panel of 19 expert listeners, who rated the voices along a visual analogue scale, with the extremes soubrette and dramatic soprano. The relationship between the ratings and the voice data were analysed using multiple regression analysis. The model that best predicted the perceptual ratings included equivalent sound level and phonation threshold pressure for the note B4. Using that model to predict the ratings yielded a correlation of 0.87. The results support the assumption that B4 is a particularly important pitch in the classification of soprano voices, an assumption that merits further investigation.
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Gharbi, Aymen. "Le roman, le cinéma et la télévision dans Les Soprano : la série télévisée entre art et industrie." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100152.
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Les prétentions esthétiques de la série télévisée Les Soprano nous ont convaincu qu’elle s’inscrit dans une période significative de l’histoire des médias : la migration du cinéma et la de littérature vers la sérialité télévisée, avec tout ce que cela implique de transformations sociale, esthétiques et économiques fondamentales. Nous mettrons cette période en parallèle avec celle du cinéma du vingtième siècle et du roman du dix-neuvième siècle, afin de montrer que l’œuvre est habitée, de manière aussi bien volontaire qu’involontaire, par certaines contradictions multidimensionnelles inhérentes aux mutations de l’industrie culturelle. Ces contradictions impliquent la contamination pathologique du récit par l’interruption et la répétition, connotant une passivité fondamentale de l’Homme moderneThe aesthetic pretensions of the television series The Sopranos have convinced us that it is part of a significant period in the history of the media: the migration of cinema and literature towards televised seriality with all that this implies of social, aesthetic and economic transformations. We will put this period in parallel with that of the twentieth century cinema and the nineteenth century novel to show that the work is inhabited, both voluntarily and involuntarily, by certain multidimensional contradictions inherent in the mutations cultural industry. These contradictions imply the pathological contamination of the story by interruption and repetition, which connotes a fundamental passivity of modern man
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Carlsson, Martin. "Maffia som populärkulturellt fenomen : En jämförande analys av Sopranos och Gomorrah." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-26989.
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Uppsatsen avser att undersöka hur den Italienska och den Italiensk-Amerikanska maffian gestaltas inom det moderna film och tv-mediet. Undersökningen baseras på den Amerikanska dramaserien Sopranos(David Chase, 1999-2007) och den Italienska filmen Gomorrah(Matteo Garrone, 2008). Teoretiska utgångspunkter för uppsatsen är politisk filosofi (Macchiavelli, Hobbes), Pierre Bourdieus habitus begrepp, ideologikritik, cultural studies och socialpsykologi. Slutsatsen visar en tydlig skillnad mellan de olika filmtexterna vad gäller såväl narrativ, ideologiska aspekter och psykologiskt orienterad människosyn, samt reflekterar över maffiafilmers roll utifrån en populärkulturell kontext.
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Worobij, Nadia. "The legacy of Zinka Milanov." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1019474.
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This study documents the musical life of Zinka Milanov, a distinguished Metropolitan Opera dramatic soprano who lived from 1906 to 1989. In this writer's opinion, the Yugoslavian-born singer ranks with Maria Callas and Renata Tebaldi in accomplishments and legacy, although her acclaim has been less notable.This study reveals that Milanov had a distinguished Metropolitan Opera career, leaves a legacy of 226 recordings with unsurpassable high-register pianissimo spinning tones and elegant phrasing, was supported by a fan club and by sold-out opera houses, and maintained an active career on three continents.This writer shares a similar Eastern European heritage with Milanov and was inspired by a former voice teacher to listen to legendary Milanov recordings while learning the spinto-dramatic soprano repertory. Milanov's artistry on these recordings demonstrates a bel canto style of singing which aspiring vocal artists may well strive to emulate. For these reasons, and because no previous complete study exists about Zinka Milanov's life and career, this research is a unique chronological document of Milanov's operatic career.In 1995, this researcher was granted access to The Metropolitan Opera Archives to collect data. Information on Milanov's musical career from scrapbooks, articles, reviews, interviews, photographs, contracts, fan club newsletters, personal letters and telegrams, is presented in chapter three.This research provides summaries and discussion of each Metropolitan Opera season; it includes the number of Metropolitan Opera performances, opera titles, names of cast members and conductors, and Milanov's salary. A complete listing of recordings of Milanov's performances is provided in Appendices 1 and 2. Historic photographs of Milanov in various operatic roles are found throughout this study.Chapter four contains this writer's insights on Milanov's vocal technique. Teachers of voice may be interested in learning her method.School of Music
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Benetti, Lisa <1990>. "The God-Father is Dead: from the Corleones to the Sopranos." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10135.
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According to Lacan, in our time, we can talk of “death of the father”, that is a radical change in the aspect of the father figure. It’s a type of father that is completely different from the old pater familias.
How can we consider or where can we place the mafia godfathers? Are they to be considered as an exception or have they also evolved through the years like any other father figure?
This dissertation will try to analyze the godfather figure (in particular the Italian-American one) by considering some famous padrini of the literary, movie, and TV world.
I will consider The Godfather by Mario Puzo, lingering in particular in the characters of Vito and Michael Corleone in both the picture and the novel. At the same time, I will compare them to the one who has become one of the most praised contemporary fictional godfathers: Tony Soprano. I chose these mafiosi not only because of their celebrity, but also because I can compare the old mafia to the new.
I will start by tracing a short story of Italian mafia in the United States, and by lingering on the meaning of the word “godfather”. These characters will be debated through the relationship they have with their Family and their traditional family, their children and not less important with the women of the family, in particular their mothers and wives. I will also analyze if their families – as Italian Americans – have evolved like other families in literature or reality.
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Souza, Glaucia Verena Sampaio de. "Consequências acústicas da variação tonal na emissão de vogal cantada em sopranos." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/5/5170/tde-08022019-075321/.
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INTRODUÇÃO: as possibilidades de inspeção acústica de dados, assim como suas correlações com aspectos perceptivos e fisiológicos, favorecem a análise do comportamento vocal. Na voz cantada tem-se características específicas de todos os parâmetros envolvidos durante o mecanismo de fonação sendo possível analisá-los acusticamente. OBJETIVO: descrever e analisar a frequência fundamental e formantes na variação tonal na vogal /a/ em sopranos. MÉTODOS: a amostra foi composta por 30 participantes do sexo feminino sem queixa vocal na faixa etária de 20 a 45 anos. Todas as emissões foram gravadas com a vogal /a/ sustentada durante cinco segundos com três repetições na frequência grave (C3 - 261 Hz), média (Eb4 - 622 Hz) e aguda (Bb4 - 932 Hz) confortável para classificação vocal. No total foram analisadas 90 amostras com extração digital da frequência fundamental (f0) e dos cinco primeiros formantes (F1,F2,F3,F4 e F5) e confirmação manual. Para análise estatística foi aplicado o teste de aderência Shapiro-Wilks e o teste de Friedmann para comparação de amostras pareadas. RESULTADOS: nas emissões em tons grave e médio, foram observados maiores valores nas frequências dos cinco primeiros formantes em relação ao valor de f0. Observou-se aproximação entre F1 e F2 nas duas tonalidades, com aglomerado de harmônicos na região de F3, F4 e F5 no tom grave e aproximação entre F3 e F4, pico em F5 e sintonia de harmônicos no tom médio. No entanto, na emissão em tom agudo, observou-se aumento dos valores de F2, F3, F4 e F5 em relação à f0, bem como a aproximação entre eles, além de sintonia entre f0 e F1, H2 e F2, H3 e F3, H4 e F4, e H5 e F5. CONCLUSÃO: as mudanças de tonalidade mostram diferenças no comportamento da frequência fundamental e dos formantes do som em sopranos. A comparação das emissões em f0 nas três tonalidades mostra modificações específicas do trato vocal harmônicos, com faixa de ganho extra em 261 Hz, sintonia entre picos de formantes e harmônicos em 622 Hz e equiparação de f0 e F1 em 932 HzINTRODUCTION: the possibilities of acoustic investigation of data and the correlation between perceptive and physiological trends, support general analysis of vocal behavior. In singing, we have specific characteristics from all of the parameters involved in the phonation mechanism and they can be acoustically analyzed. AIM: describe fundamental frequency and formants during articulation of the vowel /a/ in sopranos. METHOD: 30 healthy trained sopranos aged 20-45 were recorded singing with the sustained vowel /a/ during five seconds in three frequencies: low (C4 - 261 Hz), mid (Eb5 - 622 Hz) and high (Bb5 - 932 Hz). They also made three repetitions comfortably for the vocal classification. 90 samples were analyzed using automatic extraction from the fundamental frequency (f0) and the five primary formants (F1, F2, F3, F4 and F5) as well as manual confirmation. For statistical analysis, the Shapiro-Wilks adherence test and Friedmann test for paired samples were considered. RESULTS: in the low phonation frequency, all formants F1, F2, F3, F4 and F5 were higher than (f0). In the mid-frequency each one of the five formants were higher than (f0). However, in high frequency, the first formant was equated with f0 whereas F2, F3, F4 and F5 were increased. In comparison with (f0) and (F1), the synchrony between f0 and F1, H2 and F2, H3 and F3, H4 and F4 and H5 and F5 was also noticed. CONCLUSION: the pitch changes have shown differences in formant and fundamental frequency behavior in sopranos. The comparison between the three tunes showed us specific vocal tract adaptation for singing observed by harmonics with extra band gain, in 261 Hz, 622Hz and the equalization of F1=f0 in 932 Hz
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Monaco, Jeannette. "Performing fandom, performing community : a case study of 'The Sopranos' and its online fandom." Thesis, University of Bristol, 2007. http://hdl.handle.net/1983/f88b8cbe-2518-47e9-a0a2-68e8de4dba7b.
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This thesis examines how the terms fandom, community, and 'quality' are negotiated within the online social networks that are devoted to the US HBO series 'The Sopranos'. By extending perspectives that challenge theoretical models of audience resistance, much of the analysis considers fan discussion forum activity as a playful, performative strategy which enables fans reflexively to assert their individual or group identity. Fan performances often reflect a desire to strive for utopian versions of community while also making subcultural assertions of difference and distinction within Sopranos-related groups. I argue that the performance of distinction and the reproduction of taste hierarchies within groups interacts with The Sopranos' own cultural performance as 'quality' TV. As such, the analysis focuses on how fan activity is implicated with, rather than resisting, economic, industrial capitalist interests. In considering claims that the Internet has mainstreamed fandom, I suggest that the cultural work that The Sopranos' fans perform, indicates a complex practice which challenges the separation of the terins c mainstream' and 'subcultural'. The research utilises a range of virtual ethnographic and qualitative research strategies. The project locates fan-audiences and their constructed secondary texts throughout multiple Sopranos-related fall discussion forums. Modes of practice such as participant-observation, email correspondence, real-time chats and reflexivity are employed in order to shape the final gathering and textual analysis of empirical data. I argue that the deployment of an autoethnographic narrative accounts for the ways in which the scholar-fan's discursive locations inform subsequent analysis. I assert that this critical approach complicates assumptions about the researcher's rational, detached subjectivity, thus challenging ethnographic authority and textual transparency.
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Western, Vivienne R. "The Cultural Reasons and Implications of Viewers Empathizing with Tony Soprano." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/566.
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The Sopranos is often hailed as one of the greatest television series of all time. The groundbreaking HBO series had an immense impact as a cultural phenomenon, showcasing the entrenched problems of post-industrial America. The protagonist, Mafia boss, patriarch, son, and husband Tony Soprano, embodies the anxieties and struggles of our age. Through Tony Soprano’s internal turmoil and therapy visits we are able to see the character’s existential and nihilistic conflicts while he tries to search for self and meaning in his life. The success of the program demonstrated that amorality could succeed on television and led to programs such as Mad Men, Breaking Bad, Dexter, and other shows that had a commitment to realism and challenged the viewers by avoiding the formulaic programs of earlier years. Rather than being repulsed by Tony’s amoral criminal actions, viewers become seduced by his battles, charms, moral questions and difficulties, which results in them actually rooting for the violent gangster. In my paper I discussed the cultural implications of how viewers identify and excuse the violence and criminality of a brutal Mob boss, in terms of the knowledge of violence that is excused, accepted, rooted for, and tried to be forgotten in American society. Why would a program about anti-heroes become a huge hit with viewers rooting for an ethically confounding character? I will also argue that Tony’s dissolution, anxieties and unhappiness mirror the sentiments and realities of Americans in the twenty-first century.
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Hayes, Susan Nanette. "Chamber music in France featuring flute and soprano, 1850-1950, and a study of the interactions among the leading flutists, sopranos, composers, artists, and literary figures of the time." College Park, Md. : University of Maryland, 2006. http://hdl.handle.net/1903/3482.
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Thesis (D.M.A.) -- University of Maryland, College Park, 2006.Thesis research directed by: Music. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Marylandia and Rare Books Dept., University of Maryland, College Park, Md. Also available in paper. Audio available on compact disc;
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Lagersten, Ebba. "Populärkulturens påverkan : Mediebilden av terapi och dess betydelse." Thesis, Stockholms universitet, Institutionen för journalistik, medier och kommunikation (JMK), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-70092.
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Denna studie har som ansats att diskutera vad populärkulturen har för påverkan. Detta görs genom att anta ett mindre perspektiv och ta upp hur populärkulturella tv-serier om terapi kan påverka och har påverkat de bilder som finns av terapi och terapeuter. Genom att tillämpa en kvalitativ metod har semistrukturerade intervjuer med fyra terapeuter och psykologer genomförts. Detta ger ytterligare ett nytt perspektiv då det är de som omfattas av mediebilden som ges möjlighet att diskutera den. Frågorna som tagits upp är huruvida de populärkulturella skildringarna är att betrakta som representativa och vad det kan ha för betydelse. Dessa resultat har sedan kopplats till medieteorier om påverkan. Genom att analysera materialet som framkommit vid intervjuerna med hjälp av medieteorierna har studien visat att populärkulturens har en konstruktionistisk påverkan. Detta innebär att tv-serierna om terapi har en påverkan men dess inverkan sker subtilt i den meningen att den hjälper till att förstärka normer som statuerats på annat håll, ur den samhälleliga inställningen till ämnet eller nyhetsskildringar. Genom att tv-serier ger en representativ skildring av terapi bidrar detta till att normalisera och förstärka terapin och terapeutens roll i samhället. Detta är möjligt och har varit nödvändigt eftersom det under de senaste 15-20 åren växt fram ett större intresse för psykisk hälsa och dess betydelse har omförhandlats. Den tidigare karikatyriska bilden av terapeuten och patienten har ersatts av en modern representation som gör bägge parter mer rättvisa.
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Mossolow, Alexandra Xenia Sabina. "The career of South African soprano Nellie du Toit, born 1929." Thesis, Stellenbosch : University of Stellenbosch, 2003. http://hdl.handle.net/10019.1/16394.
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Thesis (M. Mus.)--University of Stellenbosch, 2003.ENGLISH ABSTRACT: Who is Nellie du Toit and what is the extent of her career as singer and voice teacher? The void in South African historiography in respect to the life and work of South African performing artists gave rise to investigate the career of Nellie du Toit. Known as one of South Africa’s most illustrious opera singers of the 1960’s and 1970’s, who made her career exclusively in South Africa, she is regarded as one of the most sought after voice teachers. Her career as singer spanned almost three decades. As voice teacher her career of over forty years is still ongoing. This study traces her biographical details chronologically beginning with her youth years in a very musical family. Her full-time music studies took place at the South African College of Music in Cape Town, from 1950 to 1952. Here her singing teacher Madame Adelheid Armhold and Gregorio Fiasconaro, head of the Opera School, were influential in laying the foundations for her career. After a period of over a year in England Du Toit was one of several young South African singers to contribute to pioneering opera in South Africa, often sung in the vernacular. Du Toit sang in forty-five opera seasons for the Provincial Arts Councils in the seventeen years between 1963 and 1979, when her opera career ended. In 1986 she returned to the opera stage as the Marschallin in Der Rosenkavalier by Richard Strauss. This was also her final farewell as opera singer. The title role in Madama Butterfly can be regarded as her hallmark. Her stunning portrayal of Lucia in Lucia di Lammermoor was regarded as a mile stone in South African opera history, as was her interpretation of Jenůfa. She was also hailed as a Mozart singer. Not only was she regarded as one of the world’s best “Butterflies” at the International Madame Butterfly Competition in Japan in 1970, but has she also been awarded three Nederburg Opera Prizes. Apart from opera, Du Toit gave numerous recitals of classical and light classical music, regularly sang in orchestral concerts and oratorio and was active as broadcasting artist. Her work as voice teacher always ran parallel to her singing activities. Her academic career at the Universities at Stellenbosch and Cape Town spanned fourteen years: from 1980 to 1993. Nellie du Toit’s achievements in music were laureated with the Medal of Honour from the Academy of Arts and Sciences in 1986 and an Honorary Doctorate from the University of Stellenbosch in 1998.
AFRIKAANSE OPSOMMING: Wie is Nellie du Toit en wat is die omvang van haar loopbaan as sangeres en sangpedagoog? Die leemte in Suid-Afrikaanse historiografie met betrekking tot die lewe en werk van Suid- Afrikaanse uitvoerende kunstenaars het aanleiding gegee tot hierdie ondersoek na die loopbaan van Nellie du Toit. Bekend as een van Suid Afrika se vermaarde operasangeresse van die 1960’s en 1970’s wat haar loopbaan eksklusief in Suid-Afrika gemaak het, word sy ook beskou as een van die mees gesogte sangpedagoë. Haar loopbaan as uitvoerende kunstenaar het oor byna drie dekades gestrek. Haar loopbaan as sangpedagoog, ná meer as veertig jaar, gaan steeds voort. Hierdie studie ondersoek haar lewe en loopbaan chronologies, beginnende met haar jeugjare in ʼn baie musikale gesin. Haar voltydse musiekstudies aan die Suid-Afrikaanse Musiekkollege in Kaapstad het van 1950 tot 1952 geduur. Hier het Madame Adelheid Armhold, haar sangpedagoog, en Gregorio Fiasconaro, hoof van die Operaskool, ʼn stewige fondament vir haar loopbaan gelê. Na ʼn tydperk van meer as ʼn jaar in Engeland, het Nellie du Toit een van die jong Suid-Afrikaanse sangers geword wat operabaanbrekerswerk in Suid-Afrika gedoen het. Du Toit het in vyf-en-veertig operaseisoene vir die Uitvoerende Kunsterade gesing in die sewentien jaar tussen 1963 en 1979, die jaar waarin haar operaloopbaan tot ʼn einde gekom het. In 1986 het sy na die operaverhoog teruggekeer in die rol van die Marschallin in Der Rosenkavalier van Richard Strauss. Dit was ook haar finale vaarwel as operasangeres. Die titelrol in Madama Butterfly kan as Du Toit se kenteken beskou word. Haar merkwaardige uitbeelding van Lucia in Lucia di Lammermoor is beskou as ʼn mylpaal in die Suid-Afrikaanse operageskiedenis. Dit geld ook vir haar vertolking van Jenůfa. Sy was ook hoog aangeskryf as Mozart-sangeres. Nellie du Toit is as een van die wêreld se beste “Butterflies” aangewys tydens die Internasionale Madame Butterfly Kompetisie in Japan in 1970. Daarbenewens het sy in Suid-Afrika drie Nederburg Operapryse ingepalm. Afgesien van opera het Nellie du Toit talryke uitvoerings van klassieke en ligte klassieke musiek gegee en gereeld in orkeskonserte, oratoria en as uitsaaikunstenaar opgetree. Naas haar loopbaan as uitvoerder het haar aktiwiteite as sangpedagoog byna ononderbroke voortgegaan. Haar akademiese loopbaan aan die Universiteite van Stellenbosch en Kaapstad het oor veertien jaar gestrek: van 1980 tot 1993. Nellie du Toit se prestasies in musiek is bekroon met die Erepenning van die Akademie vir Wetenskap en Kuns in 1986 en ʼn eredoktorsgraad van die Universiteit van Stellenbosch in 1998.
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Lvesque, Genevive. "[Le] rle des mezzo-sopranos dans Carmen de Georges-Bizet, Samson de Dalila de Camille Saint-Sans et Werther de Jules Massenet." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=96146.
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Mezzo-soprano roles in French opera at the end of the nineteenth century were fatalistic; that is, the y inevitably bring about min or death. This thesis studies three mezzo-soprano roles in French Romantic opera from a performer's perspective: Carmen in Georges Bizet's Carmen, Dalila in Camille Saint-Sans' Samson et Dalila and Charlotte in Jules Massenet's Werther. These three characters cause the min of three romantic heroes all performed by tenors. What are the new narrative and dramatic functions of mezzo-sopranos in French opera at the end of the nineteenth century? As a performer, it is important to understand one's voice-type, the roles that are generally attributed to it, and the impact they have on dramatic and musical representation. This short analysis will help young performers in their approach to a character in order to have a better comprehension of aIl the dimensions and subtleties that are related to it.Les rles des mezzo-sopranos dans l'opra franais de la fin du 19ime sicle sont trs fatalistes, c'est--dire qu'ils entranent invitablement la ruine, la mort. Ainsi, dans une perspective d'interprte, cette thse se penche sur trois rles fminins de mezzosoprano de l'opra franais romantique la fin du 19ime sicle : Carmen dans l'opra du mme titre de Georges Bizet, Dalila dans Samson et DWa de Camille Saint-Sans ainsi que Charlotte dans Werther de Jules Massenet. Ces trois personnages occasionnent la perte de trois hros romantiques tous interprts par des tnors. En ce sens, quelles sont les nouvelles fonctions narratives et dramatiques des mezzo-sopranos dans l'opra franais du 19ime sicle? En tant qu'interprte, il est important de bien comprendre notre type de voix, les rles qui lui sont gnralement attribus, l'impact de ceux-ci dans les histoires opratiques et dans leur reprsentation musicale. Cette courte analyse permettra de jeunes interprtes de les guider, de les aider dans leur approche d'un personnage et de mieux comprendre toutes les dimensions et les subtilits qui s'y rattachent.
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Beale, James. ""The Strong, Silent Type": Tony Soprano, Don Draper, and the Construction of the White Male Antihero in Contemporary Television Drama." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1395641750.
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Stephen, Roberta M. (Roberta Mae). "A Survey of the Research Literature on the Female High Voice." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc501208/.
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The location of the available research literature and its relationship to the pedagogy of the female high voice is the subject of this thesis. The nature and pedagogy of the female high voice are described in the first four chapters. The next two chapters discuss maintenance of the voice in conventional and experimental repertoire. Chapter seven is a summary of all the pedagogy. The last chapter is a comparison of the nature and the pedagogy of the female high voice with recommended areas for further research. For instance, more information is needed to understand the acoustic factors of vibrato, singer's formant, and high energy levels in the female high voice.
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Hartgraves, Youna Jang. "Understanding the Lirico-Spinto Soprano Voice through the Repertoire of Giovane Scuola Composers." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011843/.
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As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.' This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices. These giovane scuola composers include Alfredo Catalani (1854 –1893), Umberto Giordano (1867 –1948), Pietro Mascagni (1863 –1945), Giacomo Puccini (1858 –1924), and Riccardo Zandonai (1883 –1944). Descriptions of the soprano voices that premiered these roles are included in this document to determine the suitability of the lirico-spinto soprano voice for each role.
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Leeuwen, Alexandra van 1982. "A cantora Joaquina Lapinha : sua contribuição para o repertorio de soprano coloratura no periodo colonial brasileiro." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284069.
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Orientador: Edmundo Pacheco HoraDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Nesta pesquisa nos propomos a estudar os aspectos da prática musical dramática brasileira, principalmente no Rio de Janeiro entre o final do século XVIII e início do XIX, segundo a trajetória artística da cantora e atriz Joaquina Lapinha, que atuou tanto nos palcos cariocas quanto lusitanos. Por meio do estudo dessa intérprete brasileira, buscamos trazer mais informações acerca da participação feminina na cena lírico-dramática à época, sobretudo das mulheres negras e mulatas em contraste à prática européia dos castrati, comprovando a importância dessa cantora que saiu da colônia para se apresentar em Portugal e até mesmo para Dom João VI. Pelo repertório executado por Lapinha, procuramos demonstrar a presença de elementos do estilo operístico italiano, principalmente de origem napolitana, na obra dramática executada no Brasil no período mencionado, considerando a forte miscigenação presente no que se refere às práticas e experiências comuns ao lusobrasileiro. Buscamos ainda relacionar a influência dessa intérprete em um possível desenvolvimento virtuosístico da escrita musical por meio das obras profanas de Pe. José Maurício Nunes Garcia (1767-1830), a saber: Coro em 1808; o drama O Triunfo da America (1809); e o drama heróico Ulissea (1809). Desenvolvemos também um estudo analítico das linhas vocais para a voz solista nas obras citadas, destacando a ornamentação presente e outros aspectos que favoreçam uma visão ampla do intérprete, procurando fundamentar e enriquecer sua interpretação. Sempre que possível, consultamos fontes primárias, o que nos levou a identificar a relevância dos acervos portugueses para a musicologia brasileira, dentre os quais destacamos o fundo musical da Biblioteca do Paço Ducal de Vila Viçosa, que trouxe informações essenciais à nossa pesquisa. Pretendemos, assim, unir aspectos que contribuam com a pesquisa musicológica no país a elementos de ordem prática, relacionados à interpretação do repertório deste período.
Abstract: In this research we propose to study the aspects of Brazilian dramatic musical practice, mainly in Rio de Janeiro between the end of the eighteenth century and beginning of the nineteenth century, according to the artistic trajectory of the singer and actress Joaquina Lapinha, who performed on both Lusitanian and Carioca stages. Through the study of this Brazilian interpreter, we intend to present more information concerning the feminine participation in the lyric-dramatic scene at the time, in particular, of the black and mulatto women in contrast to the European practice of castrati. As a result, we prove the importance of Lapinha who left the colony to perform in Portugal and even for Dom João VI. Through the repertoire executed by Lapinha, we try to demonstrate the presence of elements of the Italian operistic style, mainly of Neapolitan origin, in the dramatical work executed in Brazil in the mentioned period, considering the strong miscegenation present in the practices and common experiences to the Luso-Brazilian. We also attempt to relate the influence of this performer in a possible virtuosistic development of the musical writing through the profane works of the Father José Maurício Nunes Garcia (1767-1830), namely: Coro em 1808; the drama O Triunfo da America (1809); and the heroic drama Ulissea (1809). We also developed an analytical study of the vocal lines for the soloist in these works, highlighting the ornamentation and other aspects present that favor an ample view of the interpreter, intending to underline and to enrich its interpretation. Whenever possible, we consulted primary sources, fact that lead us to understand the relevance of the Portuguese libraries for Brazilian musicology, amongst which the musical collection of the Vila Viçosa Ducal Palace brought essential information to our research. We intend, thus, to join aspects that contribute with the musicological research in the country to elements of practical order, related to the interpretation of the repertoire of this period.
Mestrado
Fundamentos Teoricos
Mestre em Música
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Wheeler, Robinson Andrew. "The brief nature of the wind, the flower of the air : Elliott Carter's "Allegro Scorrevole" for orchestra and Caeli, for two sopranos, two electric guitars, two percussion, and electronics /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2005. http://uclibs.org/PID/11984.
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Bizzarri, Pietro. "Cantata »Che ti dirò Regina«." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-70009.
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Am 8. Dezember 1747 feierte die sächsische Kurfürstin und polnische Königin Maria Josepha (1699–1757) ihren 48. Geburtstag. Zu diesem Anlass verfasste ihre Schwiegertochter Maria Antonia Walpurgis den Text der Kantate »Che ti dirò Regina«. Die sächsische Kurprinzessin hatte den ältesten Sohn des Herrscherpaares, Friedrich Christian (1722–1763), im gleichen Jahr geheiratet und war im Juni nach Dresden gekommen.
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Naumann, Johann Gottlieb. "Par che di giubbilo." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-70131.
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Johann Gottlieb Naumann ist einer der wenigen Hofkapellmeister am kurfürstlich-sächsischen Hof, der auch aus Dresden stammt. Er wurde am 17. April 1741 in Blasewitz bei Dresden geboren. Nach einer entbehrungsreichen Jugend und frühzeitigen musikalischen Ausbildung in Italien übertrug die hochmusikalische Kurfürsten-Witwe Maria Antonia Walpurgis bereits dem 23jährigen Naumann das verantwortungsvolle Amt als Kirchen-Compositeur in einer desolaten Lage der musikalischen höfischen Kultur. Naumann hat den Text – die Arie des Arpago aus Metastasios »Ciro riconosciuto«, Wien 1736 – nochmals vertont. So sind mehrere Abschriften eines Duettes für zwei Soprane und Basso continuo in Venedig und Padua überliefert. Eine Datierung des Werkes ist ungewiss, es gibt aber zwei indirekte Hinweise auf eine mögliche Entstehungszeit. 1778 erschien die Canzonette »Ecco quel fiero istante« nach Metastasio für zwei Violinen, Sopran und Basso1, neben dem vorliegenden Werk die einzige Canzonette mit Begleitung mehrere Instrumente. Weitere Gesänge auf italienische Texte für Solostimme und ausschließlicher Klavierbegleitung gehen auf das Jahr 1769 zurück. Naumann war mit Johann Adolf Faustinus Weiss, dem Sohn von Silvius Leopold Weiss, befreundet, der seit 1763 bis zu seinem Tod 1814 als Kammerlautenist an der Dresdner Hofkapelle verpflichtet war. Er kann als Interpret infrage kommen.
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Naumann, Johann Gottlieb. "Par che di giubbilo." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-149649.
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Johann Gottlieb Naumann ist einer der wenigen Hofkapellmeister am kurfürstlich-sächsischen Hof, der auch aus Dresden stammt. Er wurde am 17. April 1741 in Blasewitz bei Dresden geboren. Nach einer entbehrungsreichen Jugend und frühzeitigen musikalischen Ausbildung in Italien übertrug die hochmusikalische Kurfürsten-Witwe Maria Antonia Walpurgis bereits dem 23jährigen Naumann das verantwortungsvolle Amt als Kirchen-Compositeur in einer desolaten Lage der musikalischen höfischen Kultur. Naumann hat den Text – die Arie des Arpago aus Metastasios »Ciro riconosciuto«, Wien 1736 – nochmals vertont. So sind mehrere Abschriften eines Duettes für zwei Soprane und Basso continuo in Venedig und Padua überliefert. Eine Datierung des Werkes ist ungewiss, es gibt aber zwei indirekte Hinweise auf eine mögliche Entstehungszeit. 1778 erschien die Canzonette »Ecco quel fiero istante« nach Metastasio für zwei Violinen, Sopran und Basso1, neben dem vorliegenden Werk die einzige Canzonette mit Begleitung mehrere Instrumente. Weitere Gesänge auf italienische Texte für Solostimme und ausschließlicher Klavierbegleitung gehen auf das Jahr 1769 zurück. Naumann war mit Johann Adolf Faustinus Weiss, dem Sohn von Silvius Leopold Weiss, befreundet, der seit 1763 bis zu seinem Tod 1814 als Kammerlautenist an der Dresdner Hofkapelle verpflichtet war. Er kann als Interpret infrage kommen.
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Bizzarri, Pietro. "Cantata »Che ti dirò Regina«." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-149856.
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Am 8. Dezember 1747 feierte die sächsische Kurfürstin und polnische Königin Maria Josepha (1699–1757) ihren 48. Geburtstag. Zu diesem Anlass verfasste ihre Schwiegertochter Maria Antonia Walpurgis den Text der Kantate »Che ti dirò Regina«. Die sächsische Kurprinzessin hatte den ältesten Sohn des Herrscherpaares, Friedrich Christian (1722–1763), im gleichen Jahr geheiratet und war im Juni nach Dresden gekommen.
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McIntyre, Scott. "Folio of compositions 2008-2009." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7046.
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Hasse, Johann Adolf. "Cantata »Che ti dirò Regina«." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-70015.
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Am 8. Dezember 1747 feierte die sächsische Kurfürstin und polnische Königin Maria Josepha (1699–1757) ihren 48. Geburtstag. Zu diesem Anlass verfasste ihre Schwiegertochter Maria Antonia Walpurgis den Text der Kantate »Che ti dirò Regina«. Die sächsische Kurprinzessin hatte den ältesten Sohn des Herrscherpaares, Friedrich Christian (1722–1763), im gleichen Jahr geheiratet und war im Juni nach Dresden gekommen.
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Hasse, Johann Adolf. "Cantata »Che ti dirò Regina«." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-149864.
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Am 8. Dezember 1747 feierte die sächsische Kurfürstin und polnische Königin Maria Josepha (1699–1757) ihren 48. Geburtstag. Zu diesem Anlass verfasste ihre Schwiegertochter Maria Antonia Walpurgis den Text der Kantate »Che ti dirò Regina«. Die sächsische Kurprinzessin hatte den ältesten Sohn des Herrscherpaares, Friedrich Christian (1722–1763), im gleichen Jahr geheiratet und war im Juni nach Dresden gekommen.
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Silva, Anaurelino Negri da Costa. "A estrutura narrativa em s?ries de televis?o americanas : NYPD Blue, The Sopranos e Braking Bad : as diferentes estrat?gias no desenvolvimento de hist?rias durante a virada do mil?nio." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2017. http://tede2.pucrs.br/tede2/handle/tede/7424.
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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
This dissertation aims to analyze North America television series developed over the last thirty years to understand its narrative structures and to check differences and similarities in how these programs develop their content over time. In order to do so, at first a literature review will be done to define the state of the art of other studies that have the same theme. Then methodological procedures will be used to select the ideal research object and to assist in the analysis of that content. To achieve that, this work uses the ideas of Arlindo Machado, Boris Tomachevski, Robert McKee and Steven Johnson as reference. It also analyzes the well-?known TV shows NYPD Blue (1993 -? 2005), The Sopranos (1999 -? 2007) and Breaking Bad (2008 -? 2013) and proposes another form of narrative analysis for television series.
O objetivo desta disserta??o ? analisar s?ries de televis?o norte-?americanas desenvolvidas nos ?ltimos 30 anos, compreender suas estruturas narrativas e verificar poss?veis (des)continuidades na forma como trabalham o seu conte?do com o passar do tempo. Para tanto, em um primeiro momento, busca-?se realizar uma revis?o bibliogr?fica que defina o estado da arte de estudos correlatos que possuam a televis?o estadunidense e sua programa??o como foco de pesquisa. Em seguida, apresentam-?se procedimentos metodol?gicos que visam selecionar um objeto de pesquisa ideal e fornecer ferramentas adequadas para a investiga??o de sua natureza estrutural. Para isso, este trabalho apoia-?se em alguns autores de refer?ncia, como Arlindo Machado, Boris Tomachevski, Robert McKee e Steven Johnson;? e analisa tr?s s?ries de grande repercuss?o no meio: NYPD Blue (de 1993 a 2005), The Sopranos (de 1999 a 2007) e Breaking Bad (de 2008 a 2013), propondo uma ferramenta para interpreta??o da narrativa seriada televisiva.
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Bonneau, Paul G. "Latin Mass for Choir, Orchestra, Soprano and Mezzo-Soprano Soloists." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/bonneau%5Fpaul/index.htm.
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Jacob, Lindsey. "Thoughts for soprano and orchestra." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367943723.
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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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Rodina, Elizabeth Ann. "An examination of works for soprano." Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/754.
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Shibahara, Mai. "An examination of works for soprano." Manhattan, Kan. : Kansas State University, 2009. http://hdl.handle.net/2097/1409.
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Saenz, Karlie E. "Karlie Saenz, mezzo-soprano senior recital." Click here to view, 2010. http://digitalcommons.calpoly.edu/musp/2/.
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Thesis (B.A.)--California Polytechnic State University, 2010.Project advisors: Tom Davies. Title from PDF title page; viewed on Mar. 24, 2010. Includes bibliographical references. Also available on microfiche.
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T, Gougler Kylie. "Czech arias for soprano: an anthology." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6306.
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In the United States, Italian, French, German, and English language operas are most often performed, both professionally and in collegiate settings; however, operas by Czech composers such as Leoš Janáček’s Jenůfa, Věc Makropulos (The Makropulos Case), Z mrtvého domu (From the House of the Dead), Bedřich Smetana’s Hubička (The Kiss), Prodaná nevěsta (The Bartered Bride), and Antonín Dvořák’s Rusalka have been performed in major American opera houses over the course of the last decade. The Metropolitan Opera, San Francisco Opera, and Lyric Opera of Chicago, the three largest companies in the country, have mounted Czech productions in previous seasons. Regional companies have delved into this new territory with positive outcomes, such as when the Opera Theatre of St. Louis staged Smetana’s The Kiss in 2013. The Juilliard Opera Center, Seattle Opera, Dallas Opera, Opera Santa Barbara, Arizona Opera, and many others have recently produced Czech operas, as well.
Czech opera receives little attention in collegiate voice programs, whether it be the study of the repertoire, the language, or its historical context. Since emphasis is largely placed on English, French, German, and Italian opera, it is reasonable that many voice teachers and vocal coaches may not have expertise in either the repertoire or the language, and as a result, so few selections are performed by young singers, much to their detriment.
This dissertation serves as a resource for singers, voice teachers, vocal coaches, and collaborative artists who wish to immerse themselves in Czech operatic repertoire for the soprano. Arias for this anthology have been chosen based on pedagogical considerations within the soprano Fach. Additional elements include brief biographical information about selected composers; synopses of the operas; a guide to explaining the basics of Czech diction (as well as its similarities and differences with English, German, French, Italian, and Russian), International Phonetic Alphabet (IPA) transcriptions of each aria, as well as literal and poetic translations of the text.
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Stanbridge, Bryan Scott. "MAGNIFICAT, FOR MEZZO-SOPRANO AND CHAMBER ENSEMBLE." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1150985354.
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Nakagawa, Stephanie Eiko. "A Canadian opera aria anthology for soprano." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/62056.
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A problem that Canadian opera faces is that once works are premiered, they rarely receive any further performances. Singers must overcome numerous barriers to sing these works due to limited score accessibility and lack of aria adaptations and recordings. Even if singers feel passionately about Canadian opera, such obstacles may impede their motivation to perform Canadian repertoire.
This thesis aims to increase the awareness and accessibility of Canadian opera through the creation of a “Canadian Opera Aria Anthology for Soprano.” The anthology includes background information about the operas, composer and librettist biographies, opera synopses, and aria adaptations. In addition, performance and interpretive guides have been formed from the author’s own research in performing these works, available recordings, and from information gathered from the author’s interviews with the composers and librettists.
Hopefully the arias within this anthology will not only provide singers with useful arias for auditions, but also give them and their audience a lens through which they may better understand Canadian opera and culture. Ultimately, this research aims to increase the recognition of Canadian opera and to develop a greater interest and appreciation for these works so that one day, they may become a part of the standard operatic repertoire and reach both Canadian and international stages.Arts, Faculty of
Graduate
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Price, Lee Scott. "Ocean of Forms: for Soprano and Computer." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc115141/.
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Ocean of Forms is a cycle of five songs for solo soprano voice and electronic/computer music accompaniment on poems by noted Bengali poet, musician, philosopher, and author Rabindranath Tagore. This work approaches the song cycle as a vehicle for expressing and highlighting the poet's words. Word and syllabic stress, text painting, melodic development, and formal structure all function in relation to the text and its meaning. the replacement of the traditional piano accompaniment with electronic accompaniment provides further possibilities for new timbral structures and transformations, expressive microtonal intonation, algorithmic and aleatoric formal structures, acousmatic and spatialized sound, and a broad sonic palette. This work strives to provide a more fully developed expression of the text as afforded by these expanded musical means. the critical essay primarily explores the interaction between text and music in the work. the first chapter explores the historical precedents for the genre of the song cycle and other texted music as well as specific influences on the work. the following chapters explore the connections between the text and the vocal line and electronic/computer music, respectively. the final chapter deals with the formal structure of the work, especially the justly-tuned harmonic scheme and its relation to the text.
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Neikirk, Anne L. "SYMPHONIC PRAYERS FOR ORCHESTRA AND SOPRANO SOLOIST." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/252939.
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Music CompositionD.M.A.
Symphonic Prayers is a work for orchestra and soprano soloist in four movements. The work uses four poems from Rainer Maria Rilke's collection Das Stundenbuch (The Book of Hours), written between 1895 and 1903. Rilke was a Bohemian poet, mystic, traveler, and lover of art and nature. He narrates The Book of Hours through a fictional Russian monk who converses with God and reflects upon the nature of the world through the poetry. Rilke's poems delicately weave together the joys and struggles of a faith journey and of finding one's place in the world and in eternity. Equally striking is the beauty with which he utilizes the German language. There is an irresistible rhythm and nuance to his words. The four poems I chose each reflect a different category of prayer derived from the Christian faith tradition. A common prayer model utilized in the Protestant church is abbreviated by the acronym "ACTS," which stands for adoration, confession, thanksgiving and supplication. The ACTS prayers guide the worshipper through four methods of praying: expressing adoration for God, confessing sins and shortcomings, showing gratitude and thanksgiving, and asking for help for oneself and others. I modeled each movement of Symphonic Prayers after these categories and chose poems from Das Stundenbuch that mirrored the sentiments of each prayer. Adoration is a proclamation of faith, a statement of unrelenting praise and prayer. The narrator unapologetically declares that even if it begets arrogance, nothing will diminish his drive to reach out to God. Even through this bold statement, the poem maintains reverence and a sense of wonder toward its subject. Confession is a statement of the brokenness of the world, recounting how murder has ripped through God's call for us to love life, and how our attempts to atone for this brokenness fall short. Thanksgiving is a boisterous statement of praise to God. The speaker analogizes her praise to trumpet calls, her words to sweet wine, and her music to a northern spring day, each preparing the way for God. Supplication returns to the reverence of the first movement. The narrator contemplates her life that is ever circling around God. The accompanying monograph explains the ACTS prayers in the context of the Reformed Church of America, both historically and currently. It presents an analysis of the four Rilke poems selected to represent the ACTS prayers, including their narrative meaning, their relationship to Das Stundenbuch, their translations, and a close examination of their poetic features, such as prosody, meter, and rhyme. The discussion of the poems also required some background on Rilke's faith journey and artistic maturation. The monograph also addresses musical text setting in a broader sense by recounting some historical philosophies of textual and musical relationships and explaining where the composer's ideologies fall within the larger framework. Finally, it presents a musical analysis of Symphonic Prayers in relation to the text setting of the four poems, including an explanation of its harmonic structure, which is derived from Olivier Messiaen's modes of limited transposition. The compositional goal of Symphonic Prayers was to create a work that would honor the ACTS prayers through the elegant words of a mystic poet. The music reinforces the messages behind Rilke's honest conversations with God, and in doing so offers a new lens through which to experience the arc of the ACTS prayers.
Temple University--Theses
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Clay, William Rudy Paul. "Incarnation for soprano duo and chamber ensemble /." Diss., UMK access, 2008.
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Thesis (M.M.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008."A thesis in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.
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Otter, Harlan M. "The Madman| For mezzo-soprano and "Pierrot" ensemble." Thesis, San Jose State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1560869.
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The Madman is a five-movement song cycle that utilizes four poems from Khalil Gibran's eponymous twenty-two poem set. Like Gibran's collection of poetry, this composition sets out to portray the individual's search for meaningful self-identity while coming to terms with negative aspects of both one's own being and society at large. This journey is musically reflected by the narrative voice, a mezzo-soprano, guiding the illustrative Pierrot ensemble through a variety of dynamic and stylistic landscapes that are bound together by common themes – a lyrical romantic melody, a terse motive derived from set theory, and a humorous waltz tune.
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WU, SHAN-JU, and 吳珊如. "On Birds and Songs for Coloratura Sopranos." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/dzytd2.
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碩士國立臺中教育大學
音樂學系碩士班
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Coloratura sopranos are characterized by rapid ornaments in their singing, which resembles bird sounds. Numerous composers have written songs based on birds for coloratura sopranos. In the history of Western music, these songs were introduced the most frequently during the Baroque period. Baroque music is characterized by extensive use of rapid ornaments and intense, short, and grooving rhythms, and Baroque music often featured coloratura singing performances. During the Romantic period, individualism emerged, and natural and exotic themes became popular. Numerous pieces of music based on folk cultures or animal mimicry were created. The works by Olivier Messiaen of the 20th century (1908–1992) are the most representative of bird songs in the history of Western music. Wind instruments, particularly flutes, are regarded as ideal for bird mimicry because of their resemblance to bird sound. This paper discusses “Sweet Bird” by Georg Friedrich Händel (1685–1759), “Rossignols Amoureux” by Jean Philippe Rameau (1683–1764), and “La Capinera” and “The Gipsy and the Bird” by Julius Benedict (1804–1885) in six sections. The first section describes the motivation, methods, and scope of the research. The second section discusses the history of coloratura and bird songs. The third, fourth, and fifth sections present the biography and creative backgrounds of the three mentioned composers and an analysis and interpretation of the four mentioned works. The sixth section concludes this paper by discussing the bird-based singing styles involved in the works and providing suggestions on performing these works.
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王依瑩. "The interpretation of three Verdi sopranos pre-death scenes." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/u78x3x.
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Smith, MK. "The mezzo-soprano voice : an attempt to qualify the voice through definition and examination of selected operatic repertoire." Thesis, 1997. https://eprints.utas.edu.au/21620/1/whole_SmithMarilynKaye1997_thesis.pdf.
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In female voices, 'soprano' and 'contralto' are terms readily used to describe the high and low voice respectively. The term 'mezzo-soprano', on the other hand, has often added an air of confusion, as it refers to something in between. Because of this, the mezzo-soprano voice has become one of the least understood and difficult of all voice types to define.
The first section of this dissertation attempts to clarify the nature of the mezzo-soprano voice, with emphasis on range, timbre, tessitura, registration and anatomy. A brief history of the emergence of the mezzo-soprano voice follows, leading into its development and acceptance as an operatic instrument. It is in opera that the real voice is revealed, with such variables as range and quality being linked to the roles that have to be portrayed.
During its chequered history and its subsequent struggle for recognition, the demands upon and expectations of the mezzo-soprano voice have changed. By examining repertoire for the voice - from the time of the castrato, through to the prima donna roles of Rossini, the dramatic use of the voice by Verdi and the favouring of the voice by mid-ninteenth century French composers - the characteristics of the mezzo-soprano voice begin to emerge and its identification becomes much clearer.
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Kahrs, Susan Alexandra. ""in this house it's 1954" the representation of women in The Sopranos /." 2005. http://purl.galileo.usg.edu/uga%5Fetd/kahrs%5Fsusan%5Fa%5F200505%5Fma.
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Pattenden, Frieda [Verfasser]. "Reading "Quality American Television" Drama : a student-centred learning concept based on The Sopranos / vorgelegt von Frieda Pattenden." 2010. http://d-nb.info/1010482459/34.
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Baron, Kristina Lynn. "Decoration or dramatic function? : Mozart's use of coloratura in three comic soprano roles." Thesis, 2006. http://hdl.handle.net/1828/2338.
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Coloratura arias for soprano were popular with Viennese opera audiences in the late eighteenth century. Prima donnas of the Singspiel and opera buffa companies expected composers to write arias that would display their technical skills, even requesting substitute arias to replace less virtuosic ones in revivals of older operas. However, in using coloratura in the comic opera genres, Mozart was not only creating an opportunity for virtuoso display of the singer's talent, but was also using this vocal style as a dramatic and rhetorical device, one that defined a character's social level. depicted her emotions, and advanced her dramatic situation. This thesis investigates how coloratura functions in Mozart's soprano comic roles by examining the arias of three characters from two different operas: Konstanze and Blonde in the Singspiel Die Enifiihrung aus dem Serail, and Susanna in the opera buffa Le nozze di Figaro. An analysis of these arias shows evidence of Mozart's skill in using coloratura while meeting the conflicting demands of diva and drama.
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Von, Hoff Bonnie E. "Vocal health and repertoire for the dramatic mezzo-soprano : a suggested course of study." 2013. http://liblink.bsu.edu/uhtbin/catkey/1709343.
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Vocal Health and Repertoire for the Dramatic Mezzo-Soprano: A Suggested Course of Study brings together the fields of vocal pedagogy and performance. This curriculum guide focuses on repertoire for the Dramatic Mezzo-Soprano, ages 18-30. The guide includes selections from the genres of art song (beginning, intermediate, and advanced levels), opera and oratorio arias, concert works, and song cycles. Selected art songs and arias are presented from a vocal health perspective, using McKinney’s eight principles of Good Vocal Sound. In addition, the Comprehensive Musicianship through Performance model is integrated via the identification of a focus skill for each song or aria.
This suggested course of study emphasizes proper vocal technique and offers suggestions when studying and singing the larger works of the Dramatic Mezzo-Soprano repertoire. These suggestions include recommendations gleaned from interviews with well-known mezzo-sopranos Mignon Dunn and Dolora Zajick concerning their opinions regarding repertoire, vocal health, and appropriate song and aria assignments for the Dramatic Mezzo-Soprano. The guide also includes insights into training methods for today’s young dramatic voices based on observations of The Institute for Young Dramatic Voices.
Key outcomes and implications are that Dramatic Mezzo-Sopranos must take the time to develop their voices before singing the more advanced arias of the standard repertoire, such as those by Verdi and Wagner, and this can be done through the study of art song. Further, Dramatic Mezzo-Sopranos must be strong technically in their approach to singing to help ensure vocal health and to avoid excessive strain on the vocal folds at all times. Dramatic Mezzo-Sopranos must also have strong skills in musicianship and performance in order to meet the demands of the repertoire for this voice type. The information presented in this curriculum guide will assist both voice teachers and performers in the teaching and singing of repertoire for the Dramatic Mezzo-Soprano.Review of literature -- Design and method -- Mignon Dunn, Dolora Zajick and the Institute for Young Dramatic Voices -- Curriculum guide -- Summary and recommendations.
School of Music
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Crawford, Elizabeth Anne Kowalsky Frank. "The chalumeau in eighteenth-century Vienna works for soprano and soprano chalumeau /." Diss., 2008. http://etd.lib.fsu.edu/theses/available/etd-04032008-111644/.
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Treatise (D.M.A.) Florida State University, 2008.Advisor: Frank Kowalsky, Florida State University College of Music. Title and description form dissertation home page (viewed 4-6-2009). Document formatted into pages; contains 66 pages.
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Park, Soo-Ah. "Doctoral thesis recital (soprano)." 2010. http://hdl.handle.net/2152/11566.
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