Academic literature on the topic 'Tenors (Singers)'
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Journal articles on the topic "Tenors (Singers)"
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Ivanytska, Yana. "Viktoriia Lukianets: Ascending Opera Olympus." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 6, no. 1 (April 28, 2023): 89–99. http://dx.doi.org/10.31866/2616-7581.6.1.2023.277890.
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The purpose of the research is to highlight the creative achievements of Ukrainian opera singer Viktoriia Lukianets in collaboration with three prominent contemporary tenors: Luciano Pavarotti, Jose Carreras, and Placido Domingo (the latter both as a singer and conductor). Research methodology. In the course of searching and analyzing the relevant literature, historical, textual, and source research methods were used. The work continued with not only printed articles, but also with the singer’s personal archive (posters, programs, booklets, diaries, letters, autographs), and many interviews were conducted, the transcripts of which are stored in the author’s archive. All of this helped to reconstruct historical events (dates of premieres, number and type of rehearsals, time of auditions, etc.) Scientific novelty. The article is the first to describe the collaboration between the Ukrainian opera singer Viktoriia Lukianets and three of the most prominent tenors of our time in detail. The context is also thoroughly described and studied: the theatres where the singers performed, their stage colleagues, conductors, historical parallels, and perspectives. Conclusions. The historical reconstruction of outstanding events in the opera world makes it possible to realize the significance of the Ukrainian vocal school ( Viktoriia Lukianets’ teachers Ivan Palyvoda and Yelyzaveta Chavdar) in the world context, as well as the outstanding role of the Ukrainian singer who was able to conquer the best opera stages and perform with the most prominent singers of our time.
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Wąsacz-Krztoń, Jolanta. "Z historii muzycznych wędrówek polskich śpiewaków operowych po Galicji. Klementyna Czosnowska i Władysław Mierzwiński z występami we Lwowie i w Krakowie." Galicja. Studia i materiały 6 (2020): 136–54. http://dx.doi.org/10.15584/galisim.2020.6.7.
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The article describes the figure of a soprano, Klementyna Czosnowska, one of the most prominent Polish opera singers of the 19th century, and an unsurpassed Europe-wide famous singer, Władysław Mierzwiński, called “the king of tenors”. Their buoyant musical careers entailed frequent travels to famous and renowned musical centers. The map of such artistic travels includes also two major cultural centers in Galicia: Cracow and Lviv. Both artists performed on the stages of these cities in 1880s and 1890s, offering unforgettable artistic experiences to the local audiences. The singers were greeted with great enthusiasm, and treated with deep affection and utmost respect.
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Sumerags, Dins, Mara Pilmane, and Gunta Sumeraga. "THE USE OF AIRFLOW TESTS AND ANTHROPOLOGICAL MEASUREMENTS IN ASSESSING THE VOICE RANGE OF PROFESSIONAL SINGERS." SOCIETY. TECHNOLOGY. SOLUTIONS. Proceedings of the International Scientific Conference 1 (April 17, 2019): 13. http://dx.doi.org/10.35363/via.sts.2019.9.
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INTRODUCTION
In the vocal arts, it is difficult to determine the exact type of human voice, and it is particularly challenging to identify the voice category of vocalist-beginners because the diapason of the voice has not fully developed. A vocalist often develops his or her voice in an unsuitable tessitura (sings in a wrong voice type) resulting in a loss of sound quality and damage to the voice. An objective metric-based system for the determination of the human voice is needed.
The detection for the correlation between the airflow and vital capacity of the lungs, anthropometric data of the singers and the type of the human voice.
MATERIALS AND METHODS
Sixty vocalists (ten sopranos, ten mezzo-sopranos, ten altos, ten tenors, ten baritones, and ten basses) were examined during this experimental research. All participants were professional singers who have been very successful singing in their voice category for more than five years. The Jaeger spirograph was used to investigate the volume of the peak expiratory flow of representatives of various voice categories, i.e. by measuring the speed of airflow in a time unit (per second). Measurements were made of height, body weight, vital lung capacity, and volume of the air flow per second in the big, middle and small bronchial tubes.
To analyse the results, leading indicators of descriptive statistics were calculated, and one-factor disperses analysis (ANOVA) was used in equivalence testing calculations of the average values of morphological qualities. All statistical calculations were performed with the “Statistics” programme (7.0 edition).
RESULTS
The average height of the vocalists: sopranos – 165,8; mezzo-sopranos – 168,1; altos – 175,8; tenors – 180,5; baritones – 187,5; basses – 188,2.
The average weight of the singers (kg): sopranos – 60,2; mezzo-sopranos – 70,5; altos – 74,1; tenors - 87,7; baritones – 91,4; basses – 92,6.
The average vital lung capacity of the singers (L): sopranos – 3,79; mezzo-sopranos – 3,96; altos – 4,35; tenors 5,13; baritones – 6,06; basses – 6,12.
The average peak expiratory flow of the singers per second (L/s): sopranos – 7,44; mezzo-sopranos – 7,43; altos – 8,19; tenors – 9,80; baritones - 11,49; basses – 11,2.
The average volume of the air flow per second in the big bronchial tubes of the singers(L/s): sopranos – 6,49; mezzo-sopranos – 9,29; altos – 7,42; tenors – 7,91; baritones – 10,07; basses – 9,77.
The average volume of the air flow per second in the middle bronchial tubes of the singers (L/s): sopranos – 4,60; mezzo-sopranos – 4,02; altos – 4,96; tenors 4,46; baritones – 5,79; basses – 5,73.
The average volume of the air flow per second in the small bronchial tubes of the singers (L/s): sopranos – 1,98; mezzo-soprano – 1,49; altos – 1,99; tenors – 1,69; baritones – 2,24; basses – 2,17.
There was a correlation between the airflow results e.a. Vital capacity, MEF 75 MEF 50 and PEF and the type of human voice, but there was no correlation between PEF 25 and the type of human voice.
There was a positive correlation between anthropometric data like weight and height and the pitch of the voice.
CONCLUSION
There is a correlation between the type of human voice and a person's height, weight as well as their vital lung capacity and peak expiratory flow. According to our research data, an algorithm could be made for the determination of the type of human voice to avoid voice damage and health problems related to the forced use of the voice in a wrong pitch.
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Mellēna-Bartkeviča, Lauma. "No kora Liepājā uz galvenajām lomām Berlīnē: latviešu tenora Artūra Priednieka-Kavaras starptautiskā karjera starpkaru periodā." Aktuālās problēmas literatūras un kultūras pētniecībā rakstu krājums, no. 28 (March 24, 2023): 205–14. http://dx.doi.org/10.37384/aplkp.2023.28.205.
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The article brings to the spotlight Latvian tenor Arthur Cavara (Artūrs Priednieks-Kavara, 1901–1979), one of the most outstanding Latvian operatic tenors of the 20th century in the context of his international career successfully developed in Germany in the 1930s. In both the recently established Latvian Republic and Europe, the interwar period was a very intensive and, at the same time, very contradictory time due to the historical conditions, social processes and political regimes, but it was also the time of opportunities when one of the centres of art life longed for by Baltic musicians was Berlin. Arthur Cavara was one of a few Latvian singers gifted with unique voice qualities, working capacity and a vast repertoire, who managed to develop a successful career on operatic stages in Berlin in a very short time, thus engraving his name in European opera history of the interwar period. In 1927 the young opera choir singer from Liepāja was not hired by Latvian National Opera, and he decided to go to Berlin to study vocal art with Louis Bachner (1882–1945). In a few years, Priednieks-Kavara developed a successful operatic career in Germany, becoming one of the leading tenors of Krolloper un Die Deutsche Staatsoper in Berlin, participating in guest performances in other countries, including South America, and finally, he was critically acclaimed in Latvia, too. The Second World War and related circumstances stopped the singer’s career at its peak, Cavara, together with his family, emigrated first to Germany, a well-known country to him, and afterwards to the USA, where he worked as a vocal coach and opera director. A great deal of facts regarding the life of Latvian tenors in Berlin was documented in letters published in Latvian press of the interwar period and autobiographical works by another opera singer and writer Mariss Vētra (1901–1965), who often met Cavara both in Germany and Latvia. The article traces the career of Cavara until the emigration in 1944.
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Clarós, Pedro, Aleksandra Sobolewska, María Del Carmen Pujol, Astrid Clarós-Pujol, and Andrés Clarós. "Long-term results of tonsillectomy in professional opera singers: a pilot study." International Journal of Otorhinolaryngology and Head and Neck Surgery 6, no. 5 (April 21, 2020): 815. http://dx.doi.org/10.18203/issn.2454-5929.ijohns20201669.
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<p class="abstract"><strong>Background:</strong> The primary goal of this study was to evaluate the long-term influence of tonsillectomy on the quality of life and voice performance of opera singers. Survey study which was reviewing the long-term effects of tonsillectomy. </p><p class="abstract"><strong>Methods:</strong> Retrospective review of patients’ records and surveys in which patients have answered the questions about the influence of tonsillectomy on their voice. A total group of 30 singers was included in the study. They answered the questions about the indications for surgery, symptoms, and changes in their voice after surgery. The study group consisted of 19 women and 11 men. Mean age was 18.53 years old at the moment of surgery. The group included eleven sopranos, six mezzos, two contraltos, four tenors, five baritones, and one bass singer. </p><p class="abstract"><strong>Results:</strong> A most common indication for tonsillectomy in opera singers was recurrent tonsillitis and was present in over 83% of cases. After surgery, the voice performance was better in 60% of cases, breathing improved in 50% of cases, voice emission was higher in 53% of cases. Over 80% of singers would recommend that surgery to another opera singer.</p><p class="abstract"><strong>Conclusions:</strong> Singers evaluated long-term influence of tonsillectomy as positive. Over 80% admitted improved effect on emission and the function of voice.</p>
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Simonson, Donald. "Recent Research In Singing." Journal of Singing 80, no. 3 (January 2024): 355–56. http://dx.doi.org/10.53830/sing.00014.
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Abstract: This Recent Research in Singing article chronicles four (4) academic documents authored during 2023. Dissertations by Andrew Lane Ellis, “Mapping First and Second Formants in Italian Opera: Classification of Vowel Phonemes Sung by 20th Century Italian Tenors on Middle C”; Song Lyu, “The Connection Between Text and Music in Hector Berlioz’s Les Nuits d’été from a Singer’s Perspective”; Malia Shorman, “Acoustic Measures of the Voices of University Choral Singers Before and After Choir Rehearsal and Vocal Rebound Time”; and Keying Xu, “Spanish Nationalism and Catalanism in Music: An Analysis of Songs by Granados, Vives, Mompou, and Toldrà.” Each includes a complete bibliographic citation and an Author/ProQuest abstract.
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Parr, Sean M. "Vocal Vulnerability: Tenors, Voix mixte and Late Nineteenth-Century French Opera." Cambridge Opera Journal 30, no. 2-3 (November 2018): 138–64. http://dx.doi.org/10.1017/s0954586719000041.
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AbstractIt is now a historical commonplace that nineteenth-century operatic singing became generally louder and heavier over the course of the century. Early in the century, before the advent of singers such as Gilbert-Louis Duprez, tenors sang high notes with a light, mixed voice, sometimes even falsetto. Strikingly, while such singing was virtually eliminated from Italian opera by the end of the century, the vocal practice continued in certain cases in the French repertory, some of which were created with one particular tenor in mind, Jean-Alexandre Talazac (1851–1896). Talazac was praised for his unique ability to sing high notes both softly and loudly. This article investigates the physical practice of producing what pedagogues and critics have called voix mixte, an enigmatic timbre applied to moments of soft, high tenor singing. In exploring these moments of what I call ‘léger mode’, I suggest that, by singing high notes softly in a post-Duprez operatic world, tenors transcend stage gestures through their use of a formerly normative performance style to mark moments musically as representations of vocal and masculine vulnerability. The historical evidence also argues for a renewed focus on what soft tenor singing might do for opera today.
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White, Kimberly. "Autobiographical Voices: Performing Absence in Singers’ Memoirs." Cambridge Opera Journal 30, no. 2-3 (November 2018): 165–85. http://dx.doi.org/10.1017/s0954586719000053.
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AbstractThis article explores the emergent genre of singers’ autobiographies in late nineteenth-century France. The moment singers took up the pen is telling, as it coincides with their dislodgement in the operatic marketplace from creator and collaborator to interpreter. In their life writings, Gilbert Duprez and Gustave Roger demonstrate a strong preoccupation with revising their public images and the histories that had been written about them. I argue that what critics felt was a flaw – the tenors’ predominant focus on relationships in their autobiographies, rather than on art – reveals how Duprez and Roger sought to reconstruct their artistic identities beyond the voice, locating their most profound contributions in their exchanges and actions within the musical community.
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Clarós, Pedro, Kinga Mikolajczyk, Astrid Clarós Pujol, Carmen Pujol, Juan Sabater, and Andrés Clarós. "Side effects of medications in professional opera singers’ voice: survey findings." International Journal of Otorhinolaryngology and Head and Neck Surgery 6, no. 2 (January 24, 2020): 213. http://dx.doi.org/10.18203/issn.2454-5929.ijohns20200131.
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<p class="abstract"><strong>Background:</strong> Opera singers are classified under level I, as the elite vocal performers, being the quintessential representatives of this group. As the professional voice users, they meticulously observe any changes relevant to their health, therefore self-reported side effects should be taken under serious consideration. The aim of this study was to initiate the process of gathering general information about the most common side effects of medications taken by the opera singers.</p><p class="abstract"><strong>Methods:</strong> The study group consisted of 264 professional opera singers, treated in Clarós Clinic in a 35 years period, who were asked to complete a questionnaire. The response rate was 62.1% (n=164) with a male-to-female ratio being 1.27:1 (72 men and 92 women). 46 cases of adverse effects of medicines were updated and analysed. All the responses were collected between February and April 2018. </p><p class="abstract"><strong>Results:</strong> The mean age of our study group was 38.3 for females and 49.95 for males, with the range between 18-83 years. The vocal categories were as follows: 39 tenors, 17 baritones, 14 basses, 64 sopranos, 23 mezzo-sopranos and 5 contraltos. Patients with chronic diseases and comorbidities represented the 39.1% of the study group. The most common adverse effect reported was dryness (15.2%). The most frequent voice side effects raised by singers were clearing the throat frequently (14.63%), hoarseness and coarse or scratchy sound (10.37%), and vocal fatigue (7.32%).</p><p><strong>Conclusions:</strong> We believe that exploring the subject of vocal side effects of medications in professional opera singers is extremely important.</p>
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Gigolayeva-Yurchenko, Viktoriya. "Castrati and countertenors: vocal and physiological specificity of performance." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 65, no. 65 (December 9, 2022): 65–81. http://dx.doi.org/10.34064/khnum1-65.04.
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Statement of the problem. Today, the vocal music of the Baroque era is in great demand among performers all over the world аnd in Ukraine too. This is a new trend in performance practice, since ancient works of the classical period are the basis of the vocal training repertoire Leading experts in various professional fields (medicine, archeology, history) have many positive research results. The author of the article uses new facts related to the effect of castration on the performer’s body. Today, the art of castrati remains understudied. This is an original phenomenon in the history of singing culture of the XVII–XVIII centuries. Castrato singers have mastered a wide range, limitless breathing and phenomenal vocal technique. They became standard singer-artists and supplanted female singers. The history of voice change after castration is recorded in fragments. It reached us only on the basis of documentary (medical) materials. This fact determines the relevance of the proposed topic. There are many published works in various fields. They are dedicated to this problem. But the secret of castrates has not been fully revealed yet. This is the novelty of the topic. Recent research and publications. Researchers J. Abitbol (2006), N. Clapton (2008)], P. Barbiere (1996), A. Heriot (1975), J. Lauri-Volpi (1972), Govorukhina, N. (2017), V. O. Gigolaeva-Yurchenko (2020, 2021) covered the issue of singing features in the performance of bel canto masters with the help of evolution, history, cultural studies, vocal methodology, phoniatrics and vocal phonopedia. Musical Analysis is complex. There is only one recording of the castrato singer A. Moresky. He is known as the “Angel of Rome” Therefore, the facts about the manner of singing in the Italian classical school of bel canto during the heyday of the Baroque era. They are in historical documents. These documents were written by historians and musicians of that time. Research materials. YouTube materials with performances by the castrato singer A. Moreski and modern countertenors F. Fajoli, F. Zharusski, M. Tsenchich, Yu. Minenko. Objectives, methods, and novelty of the research. The purpose of the article is to analyze the vocal and physiological specifics of the performance of castrato singers and modern countertenors. The object is the vocal technique of the authentic bel canto vocal style of baroque music affetti; subject – the influence of physiology on the formation of the performance style of castrato singers and modern countertenors stylistic Among the tasks is to identify the dynamics of growing interest in the art of castrato singers in medicine – genetics – vocals; systematize data on the physical and physiological differences in the vocal states of castrato singers and modern countertenors; on the example of the work of countertenors, to state the uniqueness of the vocal physiology of the human body in XX–XXI. The research methodology is represented by historical, analytical, functional, interpretive and gender methods. They contribute to the disclosure of the declared topic from different angles. Results and conclusion. The author presents a panorama of modern studies on castrates. She reveals the destructive function of surgical intervention in the human body, conducts a comparative comparison of castrates and counter tenors. They are two phenomena belonging to different historical centuries. The author emphasizes the advantages of developing the natural sound of a coloratura male voice without medical intervention. She gives examples of the analysis of the adaptive voice capabilities of the human organism of the 20th–21st centuries
Dissertations / Theses on the topic "Tenors (Singers)"
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Gould, Gaye Elizabeth. "Constructing lyrical heroes : Verdian tenors and their literary sources /." Thesis, Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19912286.
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Buys, Frederick Jacobus. "(De)constructing the archive : an annotated catalog of the Deon van der Walt Collection in the NMMU Library." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/d1020585.
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Deon van der Walt was, at the height of his career, considered the leading lyric tenor of his generation. In a career that spanned more than 25 years he performed in the great opera houses of the world and sang for the leading conductors of the time, sharing the stage with the best singers in the world. He was the first male South African to accomplish the so-called “grand slam” of opera, having sung in the Royal Opera House, Covent Garden (London), Wiener Staatsoper (Vienna), La Scala (Milan) and the Metropolitan Opera House (New York). He was also a prolific oratorio and lieder singer, collaborating with the best artists the musical world had to offer. In addition he left a large recorded legacy, both published and unpublished. His untimely death on 29 November 2005 was extensively reported on both locally and abroad - a fact which again highlighted the importance of his personal and professional contribution to the international opera world.The Deon van der Walt Collection is the single most important key to unlocking the life and career of one of the most successful South African opera singers of all time. It was bequeathed to the Nelson Mandela Metropolitan University (NMMU) Library the Deon van der Walt Trust in 2007. The collection is made up of an arbitrary assortment of books, documents, sound and video recordings that were left in van der Walt’s Zürich accommodations at the time of his death in 2005. It is housed in separate section on the lower level of the South Campus Library of the NMMU. The collection has been partially catalogued by the NMMU Library but left largely unattended for the last 6 years. The compiling of an annotated catalogue of this collection is the vital first step in connecting the dots of an extraordinary musical career that was hailed as one of the greatest of his time.
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Ekstrum, Dave. "Naples and the Emergence of the Tenor as Hero in Italian Serious Opera." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157563/.
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The dwindling supply of castrati created a crisis in the opera world in the early 19th century. Castrati had dominated opera seria throughout the 18th century, but by the early 1800s their numbers were in decline. Impresarios and composers explored two voice types as substitutes for the castrato in male leading roles in serious operas: the contralto and the tenor. The study includes data from 242 serious operas that premiered in Italy between 1800 and 1840, noting the casting of the male leading role for each opera. At least 67 roles were created for contraltos as male heroes between 1800 and 1834. More roles were created for tenors in that period (at least 105), but until 1825 there is no clear preference for tenors over contraltos except in Naples. The Neapolitan preference for tenors is most likely due to the influence of Bourbon Kings who sought to bring Enlightenment values to Naples. After the last castrato retired in 1830 and the casting of contraltos as male heroic leads falls out of favor by the mid-1830s, the tenor, aided by a new chest-voice dominant style of singing, becomes the inheritor of the castrato's former role as leading man in serious Italian opera.
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Neill, Mark. "The cognitive-emotive process in golfers and singles tennis players /." Title page, contents and abstract only, 1988. http://web4.library.adelaide.edu.au/theses/09ARPS/09arpsn412.pdf.
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Tounekti, Slimane. "Développements des méthodes d'acquisition à haute résolution spatiale en IRM de diffusion." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE1008/document.
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L’IRM de diffusion (IRMd) est l’unique technique non invasive qui permet l’exploration de la microstructure cérébrale. En plus d’une large utilisation pour les applications médicales, l’IRMd est aussi utilisée en neuroscience pour comprendre l’organisation et le fonctionnement du cerveau. Toutefois, sa faible résolution spatiale et sa sensibilité aux artéfacts limitent son utilisation chez le primate non humain.L’objectif de cette étude est de développer une nouvelle approche qui permette d’acquérir des données d’IRMd à très haute résolution spatiale sur des cerveaux de macaques anesthésiés. Cette méthode est basée sur un balayage 3D de l’espace de Fourier avec un module de lecture d’Echo Planar-segmenté.Cette méthode a été tout d’abord implémentée sur une machine IRM 3 Tesla (Prisma, Siemens), puis validée et optimisée in-vitro et in-vivo. Par rapport à la méthode d’acquisition classique, un gain de sensibilité de l’ordre de 3 pour la substance grise cérébrale et de 4.7 pour la substance blanche cérébrale a été obtenu grâce à la méthode développée.Cette méthode a permis de réaliser l’IRMd du cerveau de Macaque avec une résolution spatiale isotrope de 0.5 mm jamais atteinte auparavant. L’intérêt de réaliser des données d’IRMd à une telle résolution pour visualiser et analyser in-vivo des structures fines non détectables avec la méthode d’acquisition classique comme les sous-champs de l’hippocampe ou encore la substance blanche superficielle, a été démontré dans cette étude. Des résultats préliminaires très encourageants ont également été obtenus chez l’hommeDiffusion MRI (dMRI) is the unique non-invasive technique that allows exploring the cerebral microstructure. Besides a wide use for medical applications, dMRI is also employed in neuroscience to understand the brain organization and connectivity. However, the low spatial resolution and the sensitivity to artefacts limit its application to non-human primates.This work aims to develop a new approach that allows to acquire dMRI at very high spatial resolution on anesthetized macaque brains. This method is based on a 3D sampling of Fourier space with a segmented Echo Planar imaging readout module. This method has been firstly implemented on a 3 Tesla MR scanner (Prisma, Siemens), validated and optimized in-vitro and in-vivo. Compared to the conventional acquisition method, a gain of sensitivity of 3 for the cerebral grey matter and of 4.7 for the white matter was obtained with the proposed approach.This method allowed us to acquire dMRI data on the macaque brain with a spatial isotropic resolution of 0.5 mm ever reached before. The interest to acquire dMRI data with such a spatial resolution to visualize and analyze in-vivo fine structures not detectable with the classical acquisition method, like the sub-fields of hippocampus and the superficial white matter, has also illustrated in this study. Finally, very encouraging preliminary results were also obtained in humans
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Watson, Brian James Knittel Kristin M. Lewis William. "Wagner's Heldentenors uncovering the myths /." 2005. http://www.lib.utexas.edu/etd/d/2005/watsonb07081/watsonb07081.pdf#page=3.
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"Wagner's Heldentenors: uncovering the myths." Thesis, 2005. http://hdl.handle.net/2152/2185.
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Watson, Brian James. "Wagner's Heldentenors : uncovering the myths." 2005. http://hdl.handle.net/2152/12961.
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Forshaw, Juliet. "Dangerous Tenors, Heroic Basses, and Non-Ingénues: Singers and the Envoicing of Social Values in Russian Opera, 1836-1905." Thesis, 2014. https://doi.org/10.7916/D8WM1BJ0.
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This dissertation explores the evolution of operatic idioms, especially vocal typecasting conventions, in response to social change in the volatile late Russian Empire. It complements earlier composer-centered approaches to Russian opera with a focus on the contributions of a heretofore neglected group of historical agents: singers. By examining the operas themselves as well as primary sources such as memoirs, letters, reviews, photographs, and early sound recordings, I trace the ways in which singers crystallized the Russian intelligentsia's evolving attitudes toward political and parental authority, gender roles, and political radicalism in memorable operatic characters. With four chapters devoted to the extraordinary bass, tenor, soprano, and mezzo stars who worked with composers to establish the stock characters and vocal conventions of this repertoire, I argue that art imitated life: these singers transmuted their own real-life experiences of Russian society into operatic portrayals that resonated with the controversies of their time. This dissertation thus provides a new angle on Russian opera's engagement with the political and social issues of the era leading up to the Revolution.
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Lin, Liao-Lu, and 林瞭祿. "A Research on the Skill Patterns of Tennis Singles." Thesis, 1999. http://ndltd.ncl.edu.tw/handle/04648995378453970055.
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碩士國立臺灣師範大學
體育研究所
87
Abstract This research is aimed to get the further understanding of those excellent professional tennis players whose skill patterns can serve us as a training reference. The following conclusion is drawn from the data analyzed synthetically from the international tennis tournament videotapes or personal viewing records. Although there are still quite a difference among professional tennis players’ technical patterns, they can still be classified based on the observation of those approach net style (whole court style included) and base line style players: On the one hand, the approach net style players often serve the ball with full wind-mill-type, pinpoint stance, front foot landing first, and 4-6 steps approaching net style to service line as a skill pattern set.They usually prefer one-hand and close-stance in backhand groundstroke. On the other hand, base-line style players often serve the ball with half-swing motion, platform stance, front foot landing first, and 3-steps back to service line as a skill pattern set. For two-handed backhand lady players, they prefer close-stance while men take close- and open-stance in turns. This study suggests that a coach be equipped with skill pattern assembling concepts when a player-training program is concerned. In the meantime, he/she should cultivate integrated and specialized programs in his/her mind. As to future research, this study suggests that it put the samples with common characteristics into detailed classification to test the coherence between theory and practice. Key words: tennis singles game, skill pattern.
Books on the topic "Tenors (Singers)"
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Kösters, Ferdinand. Peter Anders: Biographie eines Tenors. Stuttgart: J.B. Metzler, 1995.
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Strell-Anderle, Hilde. Alois Ander: Aus dem Leben eines grossen Tenors : das Lebensbild eines europäischen Tenors. Horn: Verlag Berger, 1996.
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James-Daniel, Radiches, ed. Sopranos, mezzos, tenors, bassos, and other friends. New York: Crown, 1995.
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Alessi, Rino. Carlo Cossutta: Un tenore venuto dal Carso = the tenor from the Carso. Trieste: Comunicarte, 2010.
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Azrikan, Dina. Arnolʹd Azrikan: Romans dli︠a︡ dramaticheskogo tenora = Arnold Azrikan : romance for a dramatic tenor. Highland Park, Ill: D. i D. Azrikan, 2006.
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Matheopoulos, Helena. The great tenors: From Caruso to Pavarotti. New York: Vendome Press, 1999.
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Bessette, Roland L. Mario Lanza: Tenor in exile. Portland, Or: Amadeus Press, 1999.
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Michael, Turnbull. Joseph Hislop: Gran tenore. Aldershot, Hants, England: Scolar Press, 1992.
Find full textBook chapters on the topic "Tenors (Singers)"
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Stroeken, Koen. "Chapter Twelve: Street Cred." In Simplex Society, 253–61. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-41115-1_14.
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AbstractHip hop performances present another case when opponents dissing each other attract a crowd for harnessing the energy between attendants. The slur appropriated by the artist representing a discriminated group illustrates the principle: use the energy of the simplex instead of evading it. Immunity through contagion. Far from representing an ideology, the artist lets inspiration in and sings the message which can be felt to have collective reason. The tensor of street cred de-simplicates politics. Artists claiming a ‘moral self’ in opposition to ‘immoral others’ are simplicating the situation with a unidimensional message, whereas frame-shifters, like Professa Jay, Mbembe or 50 Cent, turn the tables on themselves to temporarily impersonate the immoral. Their ironizing renders their comparison of frames viable instead of hegemonic.
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Miller, Richard. "Introduction." In Training Soprano Voices, 3–4. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195130188.003.0001.
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Abstract Teachers of singing often confess that it is easiest to instruct a student of one’s own voice type. There are more sopranos than singers of all other voice categories combined. Inasmuch as most singing teachers are themselves sopranos, it might be presumed there is little need for a special volume devoted to the training of soprano voices. Further, it would seem that principles of good voice production apply to all voices. Sopranos, together with contraltos, mezzo-sopranos, tenors, baritones, bass-baritones, and basses, are subject to laws of physiology and acoustics equally applicable to all singers. Why then a separate volume on training soprano voices?
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Zazulia, Emily. "Small Songs Made Big." In Where Sight Meets Sound, 171–206. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197551912.003.0007.
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This chapter explores the prevalence of augmentation and diminution, whereby singers mentally substitute the next-larger or next-smaller note value for the one that is written. In the early fifteenth century, augmentation took over from diminution as the most common temporal transformation. Whereas tenors in long note values stemmed from the tradition of early motets, the priorities of notational appearance changed in the mid-fifteenth century with the increase in tenors borrowed from chansons. By using augmentation, composers could introduce the slow-moving, long-note tenors characteristic of ceremonial music while maintaining the visual appearance of borrowed chanson melodies, written in small note values. Composers invented myriad ways of indicating augmentation, which led to controversy and confusion, even as each method opened up distinct compositional possibilities. One prominent critic of augmentation’s manifold mechanisms was the music theorist-composer Johannes Tinctoris, who took notational offenders to task in his Proportionale musices (Proportions in Music, 1472–75), a treatise proposing reforms designed to produce a notational system rooted in mathematical clarity. Tinctoris’s concerns, which have been subject to as much debate in modern scholarship as they were in the fifteenth century, offer a view of how bottom-up experimentation with notational technologies conflicted with prescriptive theories about how one “ought” to use them.
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Manning, Jane. "SEBASTIAN CURRIER (b. 1959)The Nymphs Are Departed (2006)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 48–50. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0016.
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This chapter assesses American composer Sebastian Currier’s The Nymphs Are Departed (2006). Disarmingly simple in appearance, and confined throughout within a practicable range, this arresting short piece should have a direct appeal in its almost hypnotic concentration and economy. The vocal part shows the composer’s instinctive ability to communicate without resorting to expressionist extremes. The musical style is basically tonal and exceptionally uncluttered, but, as all singers will be aware, controlling exposed, undecorated lines requires a secure technique. Note-values are straightforward, and pitches and phrases are frequently repeated. This means that the singer can develop ‘muscle memory’ as well as aural familiarity, useful for places later in the piece where the accompaniment holds fewer pitch cues. The piano part consists mainly of minimalist, repetitive figures, which gradually proliferate and intensify towards the centre of the piece, which takes the form of a balanced arc. Since a great many dynamics are soft, light, lean voices will have the advantage, especially sopranos and tenors, who will be comfortable singing low notes without recourse to an overrich sound.
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Link, Dorothea. "Classification of Operatic Roles, Voice Types, and Singing Styles." In The Italian Opera Singers in Mozart's Vienna, 19–39. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044649.003.0002.
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Based largely on the physician Benedetto Frizzi’s treatise on late eighteenth-century opera singers, this chapter discusses the six vocal-dramatic categories in which singers were classified: the musico, the serious female singer, the serious tenor, the mezzo carattere, the comic female singer, and the buffo caricato. Although voice types are only incidentally mentioned in contemporary writings, baritone, tenor, and contralto are discussed here for their particular meaning. It finds that the baritone voice had no independent existence in opera, but a singer possessing such a voice could assume both mezzo-carattere and buffo-caricato roles. The eighteenth-century tenore contraltini, unlike the modern tenor, was trained in the castrato method. The term contralto is occasionally encountered but only in passing without elaboration. Opera seria and opera buffa entailed their own style of singing.
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Kennedy, Michael. "Hamburg’s Pygmalion." In Mahler, 36–53. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198164807.003.0004.
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Abstract Hamburg has a long and honourable musical tradition. When Mahler arrived there the city’s symphony concerts were in the charge of another great conductor, Hans von Billow. Within the first few days of his regime Mahler conducted Siegfried. Billow attended the performance and wrote to his daughter Daniela on 24th April 1891: ‘Hamburg has now acquired a simply first-rate opera conductor in Mr Gustav Mahler … who in my opinion equals the very best conductors (Mottl, Richter etc.) … Recently I heard Siegfried under his direction … Without an orchestral rehearsal, he compelled the musical rabble to dance to his tune.’ Mahler quickly began to infuse into Hamburg the same zeal for artistic perfection which had marked his stay in Budapest. But now he had the advantage of an excellent orchestra and of gifted singers already under contract to the shrewd Pollini, among them the soprano Katharina Klafsky, a great Leonora in Fidelio, whose husband, Otto Lohse, was second conductor; the tenors Max Alvary and Julius Lieban, and the Czech contralto Ernestine Schumann-Heink.
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Miller, Richard. "Registration." In Solutions For Singers, 129–68. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195160055.003.0007.
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Abstract Why do you designate the passaggio points of male voices over a wider range than those of female voices? For example, you indicate a number of specific pitch designations as passaggi for the several tenor categories, and quite a few for baritones and basses. But you show only a semitone or whole-tone difference among soprano and mezzo-soprano categories, and only about a half-step difference between the mezzo and the contralto.
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Emmons, Shirlee, and Constance Chase. "The Warm-Up and Training Period." In Prescriptions for Choral Excellence, 183–209. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195182422.003.0006.
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Abstract There are some who posit that choral singers actually have little need to warm up, that the music itself will train requisite skills, and that only the greater vocal demands placed upon soloists require a warm-up. Still others feel a responsibility to address the warm-up issue, but are nonetheless uncertain of the effectiveness of their efforts. Many directors search for the “perfect” warm-up exercises to settle the question. No single such warm-up regimen exists, underscoring the need for directors to develop their ability to diagnose and prescribe, that is, to assess a situation and be equipped to address it. Singers should no more attempt to plunge into rehearsal without a warm-up than a quarterback would start to run with the ball or a hurdler to begin his race without a warm-up. Simply because the singer’s muscles are, for the most part, invisible to the eye does not mean that they require less attention than the muscles of any other athlete, for singing is an athletic event. Prominent vocal researcher Ingo Titze has said that a singer’s vocalizations are exactly like the stretching warm-ups never, ever skipped by other small-muscle athletes such as tennis players and golfers. The professional lives of these athletes depend on their muscles being at tip-top readiness for action. To them, readiness means winning or losing. To singers and their conductor it means the difference between a good or bad performance.
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Miller, Richard. "Healthy Singing." In Solutions For Singers, 169–86. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195160055.003.0008.
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Abstract An Olympic skater or tennis player displays subtlety and poetic nuance as a consequence of disciplined control of motor responses. Unless the physical instrument is adequately developed and trained to meet performance tasks, there is little possibility of producing high-level artistry. Fortunately for the singer, the musculature of the larynx is an anatomical given.
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Manning, Jane. "At the Edge of Time (1982) Brian Elias (born 1948) Text by Mervyn Peake." In New Vocal Repertory, 203–6. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198164135.003.0061.
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Abstract The composer’s beautifully bold handwriting instantly encourages the performer. The refinement and delicacy characteristic of his music is at once apparent. Such meticulous details of nuance and accent and flexible and subtle rhythms demand dedication from the singer, who will be amply rewarded. Bar-lines are omitted in the third song and again at the very end of the cycle, but conventional notation is otherwise used. The musical idiom is atonal, but constant repetition of intervals and pitch cells are a good means of orientation for singers worried by intonation problems. The dramatic scope is very wide indeed. This is a superb vehicle for a tenor of high musicianship and powerful presence.
Conference papers on the topic "Tenors (Singers)"
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Alschner, Stefan. "Der Wagner-Sänger Joseph Aloys Tichatschek – Vom Nachlass zum Netzwerk." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.46.
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The Richard Wagner collection in Eisenach contains the estates of several important 19th century Wagner performers. The inheritance of the Heldentenor Joseph Tichatschek provides insight into the live and influence of the tenor. Tichatschek is considered as one of the greatest German speaking tenors of his generation and performed the leading roles in the world premieres of Richard Wagner’s Rienzi und Tannhäuser. The paper provides an introduction into the extensive networks Tichatschek apparently used to promote his own career as well as the works of composers close to him, like Richard Wagner. The study focusses on Tichatschek’s connections to the German courts, newspaper editors, and artists. The daughter of the singer, Josephine Rudolph-Tichatschek – wife to the German tenor Eduard Rudolph –, appears as a so far completely unknown figure with likewise extensive networks which helped to preserve the inheritance of her father after his death.
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Kostic, Marija, and Drazen Draskovic. "Complex Network Analysis of Women's Singles Tennis Matches." In 2020 28th Telecommunications Forum (TELFOR). IEEE, 2020. http://dx.doi.org/10.1109/telfor51502.2020.9306598.
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Archana, M., and A. Ayyasamy. "Tracking based Event Detection of Singles Broadcast Tennis Video." In 2018 3rd International Conference on Communication and Electronics Systems (ICCES). IEEE, 2018. http://dx.doi.org/10.1109/cesys.2018.8723893.
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Tze Chien, Loh, and Oleksandr Krasilshchikov. "MATCH PERFORMANCE ANALYSIS IN WORLD ELITE AND U-21 MEN’S SINGLES TABLE TENNIS." In Movement, Health and Exercise 2014 Conference. Universiti Malaysia Pahang, 2014. http://dx.doi.org/10.15282/mohe.2014.pah.059.
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Panhuyzen, Ralph. "Use Energy Transition to Advance from Car to Auto-Mobile." In FISITA World Congress 2021. FISITA, 2021. http://dx.doi.org/10.46720/f2020-mml-043.
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"Worried about the car’s future? Don’t be. What we do need is a new perspective on personal mobility. Car makers compete over the same markets, margins are slim. Now the car faces growing criticism on a number of subjects; the industry is asked to transform. Reducing vehicle footprint offers whole new opportunities. Mind you, not the same as bringing a small car. My submission (based on over 15 years of research) carries the following subjects. 1. Think post-Tesla Solely based on battery drive, Tesla grew out to be more valuable than Volkswagen. Imagine the potential when other car travel-related issues are tackled too: zero-emission drive without subsidizing, energy efficiency, gridlock, traffic safety, profitable ride-hailing, self-driving. 2. Less = More In principle, low energy-dense propulsion (batteries) are a better match for lightweight vehicles. If we keep on putting large battery packs in oversized EVs, we end up with a lot of shortage, disposal and reusability issues. Daily gridlock is proof of how poorly we manage space, energy, materials, precious time. Think of infrastructure in terms of internet bandwidth which is difficult to expand. How to utilize roads more efficiently? 3. Smart-app vehicle No doubt, future generations will look at cars as ‘personal mobility devices’ - electric, smart, sleek, practical. Technology tends to influence product format anyway. The phone went from brick-like to sleek, cool, efficient, smart. So can the car. 4. Driverless favors sleek There’s more margin to scan-sensor-image the vicinity, take evasive action. Instead of putting autonomous hard- and software in conventional cars as add-ons, reformat the car first to have it benefit optimally from driverless technology. 5. Bridge the gap between personal mobility and public transit Outside rush hours, fewer people need to be carried, making the deployment of coach buses too costly to cover running expenses, less eco-friendly per passenger. When passenger payload drops, smaller vehicles are far more efficient. The average ride-hail trip is 1.2 passenger. Now there’s an opportunity for ride-hailers (TNCs) and transit authorities to work together, leaving room for micro-mobility as well. 6. Basically a whole new market Best to avoid the label and stigma of ‘driving a small car’. People don’t particularly favor or like small cars. So, bring something else, something in between car and two-wheeler. A ‘Best of Both Worlds’ - the fun, economy, agility of a scooter... and the comfort and safety of a car. Time to happily, purposefully cater to the growing and diverse market of urbanites, two-car households, early-adopters, singles, couples, one-child families, greenies, techies, ride-hail companies. Together they represent more than 1 out of every 1000 prospective car buyers. 1/1000 is a ratio which suffices to have a viable production (with global car sales averaging 90 million). 7. Streamline production Through 3D printing, C2C, appliance-like manufacturing methods, localized. 8. Sky’s the limit Lightweight, low drag and energy efficiency are quintessential for aerial vehicles too. A modular setup enables seamless '2D and 3D transit'."
Reports on the topic "Tenors (Singers)"
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Heron, Neil, and Sam McCormick. The Physical Demands of Wheelchair Tennis - a Systematic Review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, March 2023. http://dx.doi.org/10.37766/inplasy2023.3.0060.
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Review question / Objective: Our aim was to describe and synthesise the physical demands of wheelchair tennis. We reviewed the data across different playing surfaces, performance levels and sex of tennis players. Eligibility criteria: Studies had to meet the criteria below to be included in the review:i. The paper reported on participants playing singles or doubles wheelchair tennis matches (all ages, performance levels, quad or open category and court surfaces).ii. The data collected was related to the duration of play (e.g. length of match, effective playing time), on-court movement characteristics (e.g. distance covered, moving speed, accelerations), stroke characteristics (e.g. first serve %, count, frequency) or physiological response to match play (e.g. heart rate, oxygen uptake, energy expenditure) of wheelchair tennis.