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1
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.
4
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>
6
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.
7
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.
8
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
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Tai, Hwan-Ching, Yen-Ping Shen, Jer-Horng Lin, and Dai-Ting Chung. "Acoustic evolution of old Italian violins from Amati to Stradivari." Proceedings of the National Academy of Sciences 115, no. 23 (May 21, 2018): 5926–31. http://dx.doi.org/10.1073/pnas.1800666115.
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The shape and design of the modern violin are largely influenced by two makers from Cremona, Italy: The instrument was invented by Andrea Amati and then improved by Antonio Stradivari. Although the construction methods of Amati and Stradivari have been carefully examined, the underlying acoustic qualities which contribute to their popularity are little understood. According to Geminiani, a Baroque violinist, the ideal violin tone should “rival the most perfect human voice.” To investigate whether Amati and Stradivari violins produce voice-like features, we recorded the scales of 15 antique Italian violins as well as male and female singers. The frequency response curves are similar between the Andrea Amati violin and human singers, up to ∼4.2 kHz. By linear predictive coding analyses, the first two formants of the Amati exhibit vowel-like qualities (F1/F2 = 503/1,583 Hz), mapping to the central region on the vowel diagram. Its third and fourth formants (F3/F4 = 2,602/3,731 Hz) resemble those produced by male singers. Using F1 to F4 values to estimate the corresponding vocal tract length, we observed that antique Italian violins generally resemble basses/baritones, but Stradivari violins are closer to tenors/altos. Furthermore, the vowel qualities of Stradivari violins show reduced backness and height. The unique formant properties displayed by Stradivari violins may represent the acoustic correlate of their distinctive brilliance perceived by musicians. Our data demonstrate that the pioneering designs of Cremonese violins exhibit voice-like qualities in their acoustic output.
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Fisher, Ryan Austin, Nancy L. Summitt, and Ellen B. Koziel. "A Description of Middle School Male Singers’ Voice Change and Voice Part Assignment." Update: Applications of Research in Music Education 40, no. 1 (May 27, 2021): 45–53. http://dx.doi.org/10.1177/87551233211018209.
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The purpose of this study was to describe the voice change and voice part assignment of male middle school choir members. Volunteers ( N = 92) were recruited from three public middle school choral programs (Grades 6-8). Participants were audio-recorded performing simple vocal tasks in order to assess vocal range and asked to share the music they were currently singing in class. Results revealed 23.91% of participants’ voices could be categorized as unchanged, 14.13% as Stage 1, 3.26% as Stage 2, 10.87% as Stage 3, 26.09% as Stage 4, and 21.74% as Stage 5. The majority of sixth-grade participants were classified as unchanged or in Stage 1 of the voice change and the majority of eighth-grade participants were classified in Stages 4 to 5 of the voice change. Of the participants labeled “tenors” in their choir, over 60% were classified as either unchanged voices or in Stage 1 of the voice change.
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Newman, Ruth A., and Floyd W. Emanuel. "Pitch Effects on Vowel Roughness and Spectral Noise for Subjects in Four Musical Voice Classifications." Journal of Speech, Language, and Hearing Research 34, no. 4 (August 1991): 753–60. http://dx.doi.org/10.1044/jshr.3404.753.
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This study was designed to investigate the effects of vocal f o on vowel spectral noise level (SNL) and perceived vowel roughness for subjects in high- and low-pitch voice categories. The subjects were 40 adult singers (10 each sopranos, altos, tenors, and basses). Each produced the vowel /a/ in isolation at a comfortable speaking pitch, and at each of seven assigned pitches spaced at whole-tone intervals over a musical octave within his or her singing pitch range. The eight /a/ productions were repeated by each subject on a second test day. The SNL differences between repeated test samples (different days) were not statistically significant for any subject group. For the vowel samples produced at a comfortable pitch, a relatively large SNL was associated with samples phonated by the subjects of each sex who manifested the relatively low singing pitch range. Regarding the vowel samples produced at the assigned-pitch levels, it was found that both vowel SNL and perceived vowel roughness decreased as test-pitch level was raised over a range of one octave. The relationship between vocal pitch and either vowel roughness or SNL approached linearity for each of the four subject groups.
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Zhang, Yixiang. "The specificity of opera-vocal performance by Antonio Tamburini." PHILHARMONICA. International Music Journal, no. 3 (March 2023): 48–53. http://dx.doi.org/10.7256/2453-613x.2023.3.43730.
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The 19th century gave the world many talented opera performers, each of whom had his own artistic charisma and unique style of vocal performance. One of these singers was the bass-baritone Antonio Tamburini, a master of interpretation of the roles of Gioacchino Rossini, Vincenzo Bellini, Gaetano Donizetti, Saverio Mercadante, Giovanni Paccini, Carlo Coccia and Wolfgang Amadeus Mozart. The subject of the research is the work of the early 19th century operatic baritone Antonio Tamburini. The object of the study is the opera parts performed by Tamburini over the years of work in theaters. The relevance of the study is due to the role of Antonio Tamburini in the formation and development of the baritone art at the beginning of the 19th century, as well as the lack of knowledge of the processes that took place in opera art in the era of early romanticism. This period is covered in the musicological works of O.V. Zhestkovoy, L.A. Sadykova, I.P. Drach, G. Potter, A. Jacobshagen, J. Stark, A.E. Hoffmann, S.V. Reshetnikova, however, the mentioned works are mainly devoted to the study of the operatic performance of tenors and sopranos. The period of the birth of baritone performance was not considered in the above works, and the work of Antonio Tamburini remained unexplored, which indicates the undoubted novelty of the work. The article focuses on primary sources: the singer's creative biography, described by the 19th century music critic Castile-Blaz, contemporaries' reviews of Antonio Tamburini's stage performances. The work is dominated by historical and theoretical research methods. The main conclusion of the work is to identify the main aspects of the performing style of Antonio Tamburini, revealing the secret of the uniqueness of his art.
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Erman, Uri. "The Operatic Voice of Leoni the Jew: Between the Synagogue and the Theater in Late Georgian Britain." Journal of British Studies 56, no. 2 (March 31, 2017): 295–321. http://dx.doi.org/10.1017/jbr.2017.3.
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AbstractMichael Leoni, a leading singer in late eighteenth-century London, became famous for his role in Richard Brinsley Sheridan's anti-Jewish operaThe Duenna. He was discovered, however, at the Jewish synagogue, where his singing enthralled non-Jews in the early 1770s. Tracing Leoni's public reception, this article argues that the performative effect of his singing had a multifaceted relation to his audience's psychology of prejudice, serving to both reiterate and reconfigure a variety of preconceptions regarding the Jews. Leoni's intervention through operatic singing was particularly significant––a powerful, bodily manifestation that was capable of transforming listeners while exhibiting the deep acculturation of the singer himself. The ambivalence triggered by his performances would go on to define the public reception of other Jewish singers, particularly that of Leoni's protégé, John Braham, Britain's leading tenor in the early nineteenth century. Ultimately, the experience of these Jews' performances could not be easily deconstructed, as the Jewish performers' voices were emanating from within written, sometimes canonical, musical works. This representational impasse gave rise to a public discourse intent on deciphering their Jewishness, raising questions of interpretation, intention, and confession.
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Komarnitskyi, Yaroslav. "The Role of the Tenor in Giacomo Puccini’s Musical Theatre (Interpretive Models of the Rudolf Image in the Opera La Boheme)." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 7, no. 1 (May 17, 2024): 29–43. http://dx.doi.org/10.31866/2616-7581.7.1.2024.303758.
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The purpose of the article is to identify the defining aspects of the artistic and figurative performance interpretation of the part of Rudolf in the opera La Boheme by G. Puccini – a lyrical hero embodied in the tenor timbre. The research methodology is based on the following methods: analytical (study of art and musicological literature on the subject); method of performance analysis (analysis of Rudolf’s part in the context of identifying genre and style features, characteristic musical and expressive means, and place in the drama of the performance); comparative method (comparison of interpretations of the role of Rudolf performed by prominent singers to determine the common and distinctive features of the image “reading”), empirical method (covering the author’s own experience of rehearsal and stage performance interpretation); method of generalisation (to substantiate the conclusions of the study). The scientific novelty of the publication lies in the proposed research angle: attention is focused on the image embodied in a certain vocal timbre, and an analysis of the panorama of performing interpretations of the tenor part, a landmark in the creative heritage of G. Puccini, is presented. Conclusions. G. Puccini managed to create a theatrical reality where the “individual” prevails over the “typical” and “characteristic”. The composer carefully considered the principles of revealing the inner world of the hero, his interaction with other characters and the surrounding reality. A special place in Puccini’s “musical theatre” is occupied by the role of the tenor, who realises the “lyrical principle” in the male character, which is important for the composer (young men in love, creative natures – people prone to emotional, spontaneous actions). An analysis of the interpretations of the composer’s iconic role of Rudolf performed by outstanding singers reveals the value of a performer’s interpretation based on a deep understanding of the author’s style and proves the importance of the emergence of a syncretic singer-actor who deeply understands the drama of the performance and the place of his or her role in the overall concept of the opera.
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Turchak, Lesia. "The cultural potential of Modest Mentsinsky's work in the context of the development of the musical culture of the early twentieth century." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 62–68. http://dx.doi.org/10.32461/2226-0285.1.2021.238543.
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The purpose of the article is to establish the contribution of the opera singer and famous tenor Modest Omelianovych Mentsynskyi to Ukrainian and world music art. The methodology is based on using historical, biographical, and analytical methods, which allows distinguishing and reviewing the special features of the Ukrainian singer‘s ―internationally universal‖ performance style as well as tracking the stages of his creative evolution. The scientific novelty of the research is in the affirmation that the artist‘s work within the mentioned period, on the one hand, led to the ―Europeanization‖ of the Ukrainian music culture, which influenced the formation of the national vocal and opera school, and, on the other hand, his high vocal level and popularization of the Ukrainian music in the walls of numerous European theaters promoted the popularization of the Ukrainian music culture in the world. Conclusions. Relying on the achievements of the three most famous opera schools (Italian, German and French) and his own experience, the signer formed the ―internationally universal‖ performance style, which helped him make a considerable contribution to the development of opera art in at least three countries: Germany (as the most prominent singer of Wagner‘s plays with a vocal role of a ―heroic tenor‖), Sweden (as a performer and pedagogue who stood at the origins of the vocal school in this country) and Ukraine (as a talented interpreter of the Ukrainian chamber repertoire and popularizer of the national music heritage in the world).
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Karas, Hanna. "MASTER CLASS FROM ACADEMIC VOCAL AS FORM OF ACTIVATION OF EDUCATIONAL PROCESS IN ARTISTIC ESTABLISHMENTS OF HIGHER EDUCATION." Academic Notes Series Pedagogical Science 1, no. 204 (June 2022): 130–33. http://dx.doi.org/10.36550/2415-7988-2022-1-204-130-133.
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The article reveals the experience of using a master class on academic vocal as a form of activation of the educational process in urban institutions of higher education in Ukraine. Since Ukrainian scholars have not identified theoretical works on the role of master classes in the educational process in the vocal sphere, the disclosure of experience, which is the purpose of our article, should update the development of methodological and methodical principles of research. It has been established that over the last decade the form of master classes has been increasingly used by domestic vocal teachers. The experience of their holding at the Mykola Lysenko Lviv National Academy of Music, the Institute of Arts of the Borys Hrinchenko Kyiv University and the Vasyl Stefanyk Precarpathian National University with the participation of leading foreign opera singers, most of whom are of Ukrainian origin, was summarized. All of them worked on master classes on a volunteer basis. In Lviv they were conducted by the professor from the Academy of Music (Norway), world-famous singer (tenor) Carlo Allemano, in Kyiv – world-famous opera singer (lyric-coloratura soprano) Victoria Lukianets from Vienna, in Ivano-Frankivsk – also world-famous opera singer (baritone) Pavlo Gunka (Great Britain), young singers, soloists of Polish opera theaters Iryna Zhytynska and Stanislav Kufliuk. In each case, the duration of master classes lasted from one to seven days, the number of participants was 4–30 people. A pre-studied program of 1–3 works (aria, solo songs, folk song) was chosen for the work. Some teachers paid more attention to technical problems in voice production, others – to the artistic image, associations, understanding of the works performed. The structure of the master classes included: 1) demonstration by a recognized singer-mentor of his skills and his understanding of the problem in a practical form; 2) involvement of the student in active activity on mastering of skill under the control of the expert; 3) publicity, ie the presence of a wide audience (teachers, students, journalists), who perceived the process of communication between the master and his wards, and who joined this process, asking questions and demanding explanations. The organizational and semantic aspects of the use of master classes in academic vocal in higher educational institutions in the field of art are in need of further consideration.
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Olwage, Grant. "Listening B(l)ack." Journal of Musicology 32, no. 4 (2015): 524–57. http://dx.doi.org/10.1525/jm.2015.32.4.524.
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Much of the interpretive scholarship on Paul Robeson has tended to focus on his art as it relates to politics, an imperative related no doubt as much to the social turn in the humanities as to the singer’s own activist credentials. This article shifts the focus to art matters with the goal of gaining additional perspective on Robeson’s early singing career in the 1920s by examining the contemporary practices of concert singing. The analysis focuses on three domains of practice pertaining to singing spirituals at concerts: the programming of spirituals in recital; arranging them for performance; and their vocal performance. I include a study of how Robeson’s concert practice is indebted to that of the tenor Roland Hayes, proposing that a close listening to Hayes’s singing sheds new light on the assessment of Robeson’s early concert career and representations of the singer as racial subject.
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Milner, Gabriel. "THE TENOR OF BELONGING: THE FISK JUBILEE SINGERS AND THE POPULAR CULTURES OF POSTBELLUM CITIZENSHIP." Journal of the Gilded Age and Progressive Era 15, no. 4 (June 16, 2016): 399–417. http://dx.doi.org/10.1017/s1537781415000560.
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“The Tenor of Belonging” examines the origins of the Fisk Jubilee Singers, a chorus of college students from Fisk University, amidst the official promises of the Reconstruction era, as well as their reception during their first national tour in 1871 and 1872. The article explores the bifurcated meanings behind the spiritual as the singers performed it in this new context. Publicly, it became, for well-to-do white Northern audiences, an image of a quintessential American identity rooted in the soil, “primitive Christianity,” and the trope of redemption through suffering that seemed increasingly threatened in modern, incorporated America. And yet, spirituals had embodied ideals of self-making, piety, communal solidarity, and liberation for their singers since the late eighteenth century; and performing them, as the Jubilee Singers did, likewise became a vehicle for achieving financial security after the Civil War, as the chorus marketed its past in an effort to secure its future. The singers, like their slave forebears, used the spiritual to achieve a level of autonomy, cohesion, and pride as they negotiated the contours of citizenship in a reconfigured nation. As such, their work both prefigures Booker T. Washington's “bootstraps” ethos and W.E.B. Du Bois's “double-consciousness.”
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Sundberg, Johan. "Music technology and audio processing: rall. or accel. into the new millennium?" Organised Sound 4, no. 3 (November 16, 2000): 153–60. http://dx.doi.org/10.1017/s1355771800003058.
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Music acoustics research can provide support in terms of objective knowledge to further the rapidly developing areas of music technology and audio processing. This is illustrated by three examples taken from current projects at KTH. One concerns the improvement in quality of sound reproduction systems over the last century. A test, where expert listeners rated the year of recordings of different ages, demonstrated that significant advances were made between 1950 and 1970, while development was rather modest before and after this period. The second example investigates the secrets of timbral beauty. Acoustic analyses of recordings of an international opera tenor and a singer with an extremely unpleasant voice shed some light on the basic requirements of good vocal timbre. The unpleasant voice is found to suffer from pressed phonation, lack of a singer's formant, irregular vibrato and insufficient pitch accuracy. The third example elucidates tuning and phrasing differences between deadpan performances of MIDI files played on synthesizers and performances by musicians on real instruments. The examples suggest that future development in the areas of music technology and audio processing may gain considerably from a close interaction with music acoustics research.
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Bravi, Paolo, and Salvatore Carboni. "Franceschino Back Home." European Journal of Musicology 20, no. 1 (April 10, 2022): 63–80. http://dx.doi.org/10.5450/ejm.20.1.2021.63.
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Francesco Demuro is a 43-year-old accomplished opera singer from Sardinia. In the present days his career as a tenor singer takes him to famous concert halls all over the world. He took his first steps in the world of singing, however, not as an opera singer, but as a folk singer in the Sardinian tradition of a chiterra song. He debuted as a mini-cantadore (‘little singer’) on the stages of the local festivals and TVs in Sardinia and, ever since, has come to be known amongst the enthusiasts of a chiterra song with the diminutive of Franceschino, ‘little Francesco’. After having reached the most prominent position in this Sardinian traditional style, Demuro started studying as an opera singer. Later he abandoned his career as a folk singer to pursue opera singing once and for all, while always proudly declaring his origins as a singer of Sardinian traditional music. In this paper, some aspects mastered by Demuro with regard to the different vocal styles – as a singer of Sardinian music and as an opera singer – will be examined through both a detailed analysis of his vocal style in the two genres over the years and by gathering Demuro’s personal memoirs and accounts of his evolution as a professional singer.
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Komarnitskyi, Yaroslav. "Tenor timbre images in the Giacomo Puccini’s operas: the experience of systematisation." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 138 (December 22, 2023): 126–36. http://dx.doi.org/10.31318/2522-4190.2023.138.294802.
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The relevance of the article. An essential requirement for a musician-performer of any specialty is a deep understanding of the stylistics of the works performed, based on an analysis of the artistic and figurative foundations of the musical language. For opera singers, an important factor of professional level is knowledge of the basics of opera drama, the style of the era, possession of appropriate means of vocal expressiveness. Addressing the chosen topic determines the relevance and scientific novelty of the issues of this article, in which arias for tenor in the operas of Giacomo Puccini are considered systematically for the first time, in the context of the evolution of the composer's work. The main purpose of the article was to determine the criteria and implement the systematization of tenor arias in Giacomo Puccini's operas through the prism of their dramatic role in the focus of imagery, genre-stylistic and form-creating features, for further typology of the role of "Puccini's voice" — the tenor-spinto. The research methodology is based on the methods of complex-historical, typological, structural-functional and comparative analysis, which allows us to understand the individual approach of Giacomo Puccini to the creation of his "own musical theater", the dramaturgy of the image of an operatic character, and to determine the criteria for the systematization of operatic arias of the tenor role.
Results and conclusions. The tenor timbre corresponds as much as possible to Puccini's "vision" of a theatrical character, so almost every opera has a main character with this type of voice. The tenor-spinto (lyrical-dramatic tenor) attracts the composer's special attention, which testifies to the composer's clear imagination of a certain timbre-image as a carrier of artistic and meaningful meaning. Aria, as a fragment of an opera that focuses the attention of the listener on the image of the hero and the voice of the performer, in the history of opera-drama has always created a dilemma between the need for continuous action and its stopping in solo episodes of the performers. Puccini's ability to combine thorough musical development with fixation on dramatically important moments is a special feature of his author's vision. The article proposes a systematization of tenor arias in Puccini's operas according to their place in the action of the play. Two large groups are distinguished: musical portraits of the hero and arias of spiritual elevation (the culminating episode of the character's development, often the climax of the opera). The criteria for the systematization of tenor arias are defined: artistic content (differentiation according to the emotional and figurative criterion); compositional and structural features (identification of common and individual features of the construction of musical forms); the predominant type of means of vocal expressiveness (features of Puchchin's melodism). This approach allows the performer to better understand the principles of Puccini's thinking as a playwright. A deep understanding of the stylistic principles of the composer's work, the stylistics of the author's writing, gives the singer the opportunity to create his own performance interpretation, which evokes a response from the audience and becomes a real artistic asset. Further research in the proposed scientific field will contribute to the expansion of ideas about the author's theater of Giacomo Puccini, will help to better understand the principles of Puccini's thinking as a playwright and the degree of his innovation.
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Price, Harry E., Cornelia Yarbrough, Merilyn Jones, and Randall S. Moore. "Effects of Male Timbre, Falsetto, and Sine-Wave Models on Interval Matching by Inaccurate Singers." Journal of Research in Music Education 42, no. 4 (December 1994): 269–84. http://dx.doi.org/10.2307/3345736.
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This study compared the effects of male timbre, falsetto, and sine-wave models on pitch-matching skills of inaccurate boy versus girl singers in Grades K—8. Subjects were 216 inaccurate singers in Grades K-8 ( n = 12 boys and 12 girls from each grade). They were presented descending minor thirds sung by a tenor and a bass in their regular octaves (G3—E3) and in falsetto (G4—E4), as well as two sine-wave stimuli in the same octaves. Subjects were recorded singing back the presented intervals. The recordings were digitized and analyzed for pitch and interval cent deviation. Responses to male stimuli were more accurate than were responses to sine waves. Girls responded more accurately to higher stimuli, and boys responded more accurately to lower stimuli. The octaves of the stimuli also affected the octaves of the responses, and the subjects had a tendency to sing intervals that were larger rather than smaller than the minor-third models.
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Bieńkowska, Irena. "The court chapel of Paweł Karol Sanguszko." Острозька давнина 1, no. 7 (November 30, 2020): 115–26. http://dx.doi.org/10.25264/2707-1650-2020-7-115-126.
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Based on accounting books, contracts and other documents of the Sanguszko family archive, the author reconstructs the personal composition of the chapel of the Lithuanian Court Treasurer and Lithuanian Court Marshal Prince Paweł Karol (1680-1750). In the early 1710s, the number of musical group was only 5 people, but since then it has been steadily increasing until in the early 1730s it reached a total of 26 musicians. The author was able to establish the names of more than thirty musicians, composers and singers who were retained by the Sanguszkos. Among them, there were musicians who played the harp, bandura, horn, oboe, harpsichord, organ, violin, trumpet, flute, bassoon and dulcimer. The choir had bass, viola, soprano and tenor singers. The article shows the structure of the orchestra and choir, its material support, as well as the method of recruiting musicians, some of whom came from outside the Commonwealth (Germans, Czechs, Italians, French).
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Wangpaiboonkit, Parkorn. "Rethinking Operatic Masculinity: Nicola Tacchinardi's Aria Substitutions and the Heroic Archetype in Early Nineteenth-Century Italy." Cambridge Opera Journal 32, no. 1 (March 2020): 1–26. http://dx.doi.org/10.1017/s0954586720000099.
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AbstractThis article looks at representations of masculinity in Italian operatic performance in the 1820s and 1830s, with a particular focus on the ways in which male characters were transformed through the practice of aria and scene substitutions. Upon his retirement in 1833, the tenor Nicola Tacchinardi chastised musico performers – women who sang male roles – for their unconvincing portrayal of operatic heroes. Rather than complain about their high-lying voices, he chose to criticise these women's feminine appearance and idiosyncratic stage behaviours as unmasculine. Tacchinardi's criteria for gender performance, then, sidestepped embodied vocality and centred on performer appearance and behaviour in specific narrative situations. My study explores how Tacchinardi and his contemporaries employed aria substitution in heroic roles as a means for plot substitution, forgoing arias of dramatic stasis for dynamic scenes that showcase decisive action and augmented narrative significance. In this pre-Duprez milieu, before the onset of predetermined physiology in operatic discourse, male singers across the 1820s achieved an explicitly masculine self-definition not through voice, but as masters of textual control. Aria substitutions in the operas La Sacerdotessa d'Irminsul, La donna del lago and Norma demonstrate how singers established the components of masculine-heroic conventions through sensitive consideration of dramaturgy. I stress that the singing voice before 1830 was under-assimilated as an index of gender, and that rethinking the history of the ‘rise of the tenor’ may be crucial to understanding the history of the vocalic body.
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Moniz, Justin John. "Contemporary Vocal Repertoire Considerations for the Classical Singer." Journal of Singing 80, no. 4 (March 2024): 441–45. http://dx.doi.org/10.53830/sing.00027.
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Abstract: Author Justin John Moniz addresses the exploration of contemporary vocal repertoire for the classical singer. Moniz discusses effective teaching methods rooted in evidence-based practice and advocates for the exploration of student curiosities outside one’s primary area of concentration. Included is a sample list of popular song repertoire for four voice types: soprano, mezzo-soprano, tenor, and baritone. These selections are intended to provide even those most unfamiliar with popular song an opportunity to explore a new style with greater probabilities of ease and coordination.
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Dušek, Zdeněk, and Hradec Králové. "Singer-Thorpe bases for special Einstein curvature tensors in dimension 4." Czechoslovak Mathematical Journal 65, no. 4 (December 2015): 1101–15. http://dx.doi.org/10.1007/s10587-015-0230-1.
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Clark, Maribeth. "The Body and the Voice in La Muette de Portici." 19th-Century Music 27, no. 2 (2003): 116–31. http://dx.doi.org/10.1525/ncm.2003.27.2.116.
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This article explores changing attitudes toward actors' bodies at the Paris Opera through the performance history of D. F. E. Auber's opera La Muette de Portici from 1828 to 1879. Because a mime performed the role of Fenella and the chorus played an active role in the mise en scene, the opera placed unusual emphasis on the physical. Over this period, however, emphasis shifted from appreciation of acting to emphasis on singing. For example, during the tenor Adolphe Nourrit's tenure at the Opera critics admired his skill as an actor in the role of Masaniello. When replaced by Gilbert Duprez in 1837, critics praised the tenor's vocal power and lack of emphasis on the histrionic. During this same time, critics began to interpret the gestures of the mime playing Fenella as semantically empty, and her body as filling a space that a singer should occupy. The important role that the barcarolle plays in the opera allows in part for these transitions. Viewed as a chanson napolitaine, it accentuates the rocking of a boat and the physical body at work; however, interpreted as the song of a Venetian gondolier, the song emphasizes the enunciation of a singing voice at the expense of the body. Reviews of La Muette reflect this ambivalence toward performance styles that call attention to the body, particularly those that might be interpreted as belonging to the working classes.
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Sun, Xun. "Representations of tenor arias from G. Puccini’s operas (“La bohème”, “Tosca” and “Turandot”) by masters of Russian and Chinese vocal schools." PHILHARMONICA. International Music Journal, no. 2 (February 2024): 1–14. http://dx.doi.org/10.7256/2453-613x.2024.2.70441.
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The article examines the issue of performing interpretations of famous tenor arias from operas by J. Puccini, who are not only firmly established in the repertoire of outstanding singers, but are also an obligatory part of the program of vocal competitions and the educational repertoire of music universities. We analyzed the representation of arias of their operas "Bohemia", "Tosca" and "Turandot") by masters of the Russian (S. Lemeshev, V. Atlantov, P. Melentyev, E. Raikov, M. Mikhailov, V. Galuzin) and Chinese vocal schools (Kang Wang, Yijie Shi, Wei Song, Shi Chu Jang, Deng Chao Hong). This article analyzes performers from different schools and eras, in which the weak and strong sides of interpretations were identified and the features of the part and its performance variants were highlighted by outstanding representatives of the Russian vocal school and young singers from China. The author aims to identify various techniques of the vocal technique of the tenor, using as an example arias from the operas of J. Puccini, as well as the task – to analyze arias performed by outstanding Russian and Chinese artists, paying special attention to interpretation and means of performance, in particular the bel canto technique, using a comparative analysis of interpretations. Masterpieces of world opera are of equal importance for both Russian and Chinese culture, and they are often addressed by directors. The immortal figure of opera mastery for Russia and China is J. Puccini and, in general, the Italian opera school with its unique bel canto style, embodied also in the works of masters Rossini, Verdi, Donizetti. Since Chinese are actively interested in Russian and Italian opera and often perform them, this aspect is seen as relevant in our time, to which many research papers are devoted. In this work, the author aims to identify various techniques of the tenor vocal technique, using as an example arias from the operas of J. Puccini, as well as the task of analyzing arias performed by outstanding Russian and Chinese artists, paying special attention to interpretation and means of performance, in particular the bel canto technique.
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Zaitov, Georgy S. "The Strategy of Achieving Resonance by Tenor Singers. From the Past to the Present." Music Scholarship / Problemy Muzykal'noj Nauki, no. 2 (June 2016): 125–31. http://dx.doi.org/10.17674/1997-0854.2016.2.125-131.
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Holmes, Leslie. "A Conversation with Jerold Siena, Part 2." Journal of Singing 79, no. 1 (August 22, 2022): 111–16. http://dx.doi.org/10.53830/tyoh5738.
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This column is a conversation between interviewer Leslie Holmes and American tenor and music pedagogue, Jerold Siena, Mr. Siena is a singer of international acclaim who has appeared regularly at some of the world's leading opera houses, including the Metropolitan Opera, Lyric Opera of Chicago, La Monnaie in Brussels, The Bayerische Staatsoper (Munich), Rome Opera, New York City Opera and Teatro di San Carlo (Naples). He has performed under many notable conductors.
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Wang, Shizhe. "Adolphe Nourrit is singer of the July Revolution." PHILHARMONICA. International Music Journal, no. 5 (May 2023): 21–33. http://dx.doi.org/10.7256/2453-613x.2023.5.69333.
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The subject of the article is the socio-cultural and religious-philosophical views of the greatest French tenor of the XIX century, Adolphe Nurrit (1802-1839). His stage work was carried out at the Paris Opéra, and during the July Revolution of 1830 he performed revolutionary songs, supporting and inspiring compatriots to fight for freedom. Considering Nurrit's creative portrait and revolutionary agitator activity in the 1830s, the author focuses on his commitment to the ideas of sentimonism, in particular, on the desire to deepen the religious and moral role of theater in society. The singer's spiritual quest can be characterized by relying on various historical evidence – doctrinal positions of the sentimonists, comments from eyewitnesses, articles in newspapers, letters from Nurrit himself. The methodological strategy of the research is based on socio-historical and socio-cultural approaches. A large array of historical sources attracted by the author consists of literature in foreign languages, work with which involves linguistic research methods. The combination of different approaches and reliance on reliable historical sources makes it possible to achieve scientific novelty: Nurrit was first described as a singer of the Revolution, which left a deep imprint on his artistic appearance, religious and moral views and plans for practical implementation. The presented portrait of Nurri as an adept of the sentimonistic idea of the sacred mission of the artist and the religious and educational function of the theater is new for musicology. As a result of the undertaken research, Nurrit's deep involvement in the socio-cultural life of France becomes obvious, and his artistry stands out as a special artistic phenomenon due to the unprecedented emotional impact of the artist on his contemporaries. The materials, observations and conclusions presented in the article will find application in historical musicology and will be useful to modern opera performers.
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Vurma, Allan, Tuuri Dede, Veeda Kala, Einar Meister, Lya Meister, Marju Raju, and Jaan Ross. "Vokaalide ja klusiilide intensiivsussuhted laulmisel teksti arusaadavuse mõjutajana." Mäetagused 87 (December 2023): 31–70. http://dx.doi.org/10.7592/mt2023.87.intensiivsussuhted.
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Aim. The objective of this study is to ascertain (1) whether there is a tendency in operatic singing by which, compared to speaking, the intensity of all speech sounds is greater, but the intensity of voiceless plosive bursts increases proportionally less than that of vowels, which may make the recognition of plosives more difficult; and (2) whether pronouncing the bursts of voiceless plosives more strongly would improve their recognition. Method. The investigation was split into two stages. In the first stage, five classically trained professional Estonian singers (soprano, mezzo-soprano, tenor, baritone, bass) were asked (1) to sing an aria in Italian from a romantic period opera, and (2) to read the text of the same aria. The recordings were segmented on the level of single speech sounds, and the intensity level of each sound was measured with the help of the software Praat. In addition, recordings of sung performances by three Italian singers (two sopranos and a baritone) and examples of spoken text by two different speakers were similarly analyzed. In the second stage, a perception test with 60 listeners (21 male, 38 female, and one non-binary) was carried out. The listeners were aged between 11 and 74. Seventy-two sequences /a/–/k/–/a/, /a/–/p/–/a/ and /a/–/t/–/a/, sung by a mezzo-soprano on G4, were played to the listeners as stimuli. The listener had to identify the plosive in the middle of each stimulus. The intensity level of the plosive varied in four steps (including one step in which the plosive burst was removed and replaced with silence). To some stimuli sets were added either reverberation (to imitate room acoustics) or pink noise (to imitate masking sounds from accompaniment or ensemble partners); further stimuli sets included the addition of both reverberation and pink noise. Results. The first stage of the research showed that in the case of the Estonian singers the intensity of the sung vowels was, on average, 14.2 dB greater than that of the corresponding spoken speech sounds, whereas the intensity of the voiceless plosive bursts increased by an average of only 7.1 dB. The intensity difference between sung and spoken speech sounds was similar in the case of Italian vocalists. Producing the plosive bursts more strongly generally tended to improve the recognition of plosives only when reverberation and/or pink noise were added to the stimuli. The probable cause of lowered recognition is the masking of plosives by the room reflections of the preceding vowels and sounds from the accompaniment and ensemble partners. In the case of /p/, too intense a burst could actually diminish recognition to some extent. The recognition was often above the level of chance even if the burst was removed, indicating that besides the plosive burst some other clues to identify the plosive exist (such as the formants’ glide from the locus of the plosive to the adjacent vowel). Conclusions. There is no need to pronounce voiceless plosives with exaggerated vigor in singing if the room reverberation is small and there are no masking sounds from other musicians. The exception is /k/, which may remain unidentified if the plosive burst is not perceived. In poorer acoustic conditions, a stronger burst may improve intelligibility. However, the singer should be cautious not to overemphasize the /p/, as this may worsen its recognition.
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Baker, Wilbur R. "An Analysis of Vocal Jazz Repertoire by Three Selected Publishing Companies." Update: Applications of Research in Music Education 30, no. 1 (August 26, 2011): 54–63. http://dx.doi.org/10.1177/8755123311418625.
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The purpose of this study was to analyze SATB (soprano, alto, tenor, bass) vocal jazz octavos ( N = 150) from three publishers in an effort to (a) identify the most prolific arrangers/composers, (b) cite improvisation opportunities, (c) document publisher improvisation markings, (d) indicate repeated titles, (e) identify most popular styles, and (f) investigate instrumental accompaniment combinations. Results revealed that the most prolific composers were Kirby Shaw, Steve Zegree, and Darmon Meader. Less than one fourth (22.6%) of the charts included improvisation opportunities for singers with transcribed notation ( n = 18) or instructions ( n = 16). Swing and Ballad styles were more prevalent than Latin and Contemporary. Categories for instrumental accompaniments included none/a cappella ( n = 31), bass ( n = 1), piano ( n = 39), combo ( n = 48), and augmented combo ( n = 32). Further results and discussion are included.
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Reshetnikova, Svetlana Vladimirovna, and Yixiang Zhang. "Antonio Tamburini and the Baritone Role." Философия и культура, no. 2 (February 2024): 84–90. http://dx.doi.org/10.7256/2454-0757.2024.2.39664.
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The study of opera art at the turn of the 18th–19th centuries is currently a topical research. At the beginning of the 19th century, many cardinal changes took place in the field of vocal performance: new types of singing voices and dramatic roles were formed, the manner of ornamentation of parts underwent changes. Many works of domestic and foreign musicologists are mainly devoted to the study of the operatic performance of tenors, basses, contraltos and sopranos. Occasionally, they mention the baritones of the Verdi period, and the period of the birth of the baritone role, unfortunately, remains unexplored. The subject of this study is the operatic and vocal work of the Italian baritone Antonio Tamburini. The object of the study is the baritone roles created for the singer. The theoretical and methodological basis of the study was the works of modern domestic and foreign musicologists devoted to the art of vocal masters of the early 19th century, reviews of Tamburini's contemporary music critics and his creative biography. The novelty of the study lies in the identification of causal relationships between the performance of the singer and the evolutionary processes that occurred in the opera art of the early 19th century. The main conclusion of the study is to identify the role of Tamburini in the formation of the role of the baritone.
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Fuentes Fuentes, Carmen. "CHUCK PALAHNIUK’S FIGHT CLUB UNDER A DIFFERENT LENS: PRESSURES ON THE MALE BODY IN COMMUNITY AND THE QUESTION OF MASCULINITY." ODISEA. Revista de estudios ingleses, no. 19 (September 30, 2019): 53. http://dx.doi.org/10.25115/odisea.v0i19.2008.
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Este artículo tiene como objetivo analizar la novela de Chuck Palahniuk El Club de la Lucha (1996) desde un punto de vista diferente, el de las teorías comunitarias. Para enriquecer dicho estudio, este campo se combinará con los estudios de género, específicamente en los estudios de masculinidades. La novela describe la formación de una comunidad simbólicamente saturada, la del “club de la lucha”, cuyos miembros están obsesionados con una figura paternal ausente, incluido el protagonista. Sin embargo, su crisis existencial se resolverá gracias a su encuentro con Marla Singer, en el que Tyler Durden tendrá un papel fundamental: actuará como figura catalizadora, filtrando los simbolismos saturados que limitan la identidad esencialista del personaje principal. Como resultado, el protagonista podrá conectar con el personaje femenino principal, Marla Singer, de forma inorgánica, donde serán capaces de mostrar su individualidad de forma significativa.
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Accinno, Michael. "Extraordinary voices: Helen Keller, music and the limits of oralism." Journal of Interdisciplinary Voice Studies 4, no. 2 (October 1, 2019): 139–56. http://dx.doi.org/10.1386/jivs_00002_1.
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Abstract This article examines iconic American deafblind writer Helen Keller's entræ#169;e into musical culture, culminating in her studies with voice teacher Charles A. White. In 1909, Keller began weekly lessons with White, who deepened her understanding of breathing and vocal production. Keller routinely made the acquaintance of opera singers in the 1910s and the 1920s, including sopranos Georgette Leblanc and Minnie Saltzman-Stevens, and tenor Enrico Caruso. Guided by the cultural logic of oralism, Keller nurtured a lively interest in music throughout her life. Although a voice-centred world-view enhanced Keller's cultural standing among hearing Americans, it did little to promote the growth of a shared identity rooted in deaf or deafblind experience. The subsequent growth of Deaf culture challenges us to reconsider the limits of Keller's musical practices and to question anew her belief in the extraordinary power of the human voice.
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Burford, Mark. "Sam Cooke as Pop Album Artist—A Reinvention in Three Songs." Journal of the American Musicological Society 65, no. 1 (2012): 113–78. http://dx.doi.org/10.1525/jams.2012.65.1.113.
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Abstract Though African American singer, songwriter, and entrepreneur Sam Cooke (1931–1964) is commonly celebrated as a pioneering soul singer, the preponderance of Cooke recordings suggesting to many critics a “white” middle-of-the-road pop sound has troubled this reception. From June 1957 until the end of 1959, Cooke recorded for the independent label Keen Records, where he charted a course for realizing his professional and socioeconomic aspirations, including his determination to harness the prestige attached to the long-playing album and the “album artist.” This article explores relationships between the repertory, performances, and production on three Keen album tracks: “Danny Boy,” “My Foolish Heart,” and “I've Got a Right to Sing the Blues.” These recordings reveal Cooke's seldom-noted proximity to contemporaneous figures and concerns: “Irish tenor” Morton Downey, who built a career on the fluidity between ethnic identity and pop's transparent “whiteness”; Billy Eckstine, who struggled to navigate the racial and sexual politics of the pop balladeer; and the black studio musicians whose campaign for employment equity in 1950s Los Angeles found resonance with Cooke's vision. Taking Cooke's endeavor seriously positions us to assess freshly Cooke's skills as a vocalist, the processes through which “pop” becomes racialized as white, and intractable methodological challenges in black music studies.
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Saigushkina, Olga P., and Zhang Fengwei. "ARTISTIC PORTRAIT OF DAI YUQIANG." Arts education and science 1, no. 38 (2024): 153–63. http://dx.doi.org/10.36871/hon.202401153.
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The article is dedicated to the creative path of the outstanding Chinese tenor of our time Dai Yuqiang. Attention is focused on the key events of his life that influenced his development as a vocalist. The article covers the versatile activity of Dai Yuqiang as an opera singer, the main phase of which falls on the late 1990s – 2010s, and as a concert performer, teacher and music educator. It reveals the features of his performing repertoire (from Chinese folk songs to Italian verismo operas) and highlights the geography of his performances (from China to the USA). Dai Yuqiang is a singer known outside of China, who is internationally recognised for his exceptional voice and artistry. The name of Dai Yuqiang is inscribed in the world vocal art, he is the first and only student of the great Luciano Pavarotti. In the field of Chinese vocal education today, Dai Yuqiang is one of the leading teachers, engaged in the education of professional vocalists. An important part of his pedagogy is the popularisation of vocal literacy among a wide audience. The information from Dai Yuqiang’s biography is reinforced by excerpts from two published interviews, which allows us to make his artistic portrait more expressive, voluminous, and multifaceted.
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Yan, Haosyuan. "The phenomenon of the singing style of J. Kaufmann: theoretical aspect." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 260–78. http://dx.doi.org/10.34064/khnum2-21.17.
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Background. In recent years, there has been an increasing interest in the performing style issues in modern musicology. However, creative work of each musician provides new and new grounds for further reflection, in particular, the creativity of the outstanding contemporary singer Jonas Kaufmann. He is now at the height of his career and his works include opera roles and chamber programs based on the compositions by R. Wagner, J. Verdi, J. Massenet, J. Puccini, R. Strauss, F. Schubert, J. Bizet, and J. Paisiello. The urgency of this study exists owing to the lack of a scientific description of the creative work of J. Kaufmann. The objective of this study is to determine the main features of Kaufmann’s singing style from the point of view of the phenomenological approach. Methods. The complex research methodology is based on the theoretical substantiation of the analysis of a performer style through the positions of the phenomenology of creativity (research by E. Husserl, A. Losev, M. Arkadyev, G. Tsypin). The application of a systematic approach led also to the involvement of the theory of the performing style (research by V. Medushevsky, V. Moskalenko, and Yu. Nikolaievska). Results. The results of the research support the idea that J. Kaufmann’s singing style is a system of interrelated parameters. There are three components of the singing style. The first is related to the general phenomenon of style, the second – to the process of performance and the third – to the specifics of vocal performance. Thus, the musical style (component 1) is an expression of the peculiarities of musical thinking, and musical compositions are the product of dialogue and communication between the performer and the composer (according to V. Medushevsky). In this sense, the status of the performer, who, in fact, is the creator of the interpretation, is strengthened. For the theory of the performing style (component 2) the definition of V. Kholopova is relevant, that style is a «category-introvert» and the concept of «style of creative personality» (S.Shyp), «style of musical creativity» (V. Moskalenko), «type of creative personality» (E. Liberman),»archetype of a musician» (O. Katrych), which focus on individual characteristics, but in the perspective of the formation of universal features. The thinking of the performer-vocalist (component 3) is focused on the vocal-acting embodiment and reincarnation with the help of the voice as an instrument of what is laid down by the composer in the text of the composition, based on his own creative thinking and personality type. Thus, the definition is proposed: The performing vocal (singing) style is the integrity of the highest order, which manifests itself as a type of music-making, based on the characteristics of the timbre colouring of the sound and formed vocal techniques (orientation on language phonetics, rigor or improvisational freedom, expression, etc.). The noted theoretical provisions allow revealing more fully the specifics of J. Kaufmann’s performing style. In addition, basing on journalistic research, interviews and biographical materials, the periods of J. Kaufmann’s creative work has been proposed. Based on the guidelines of the phenomenology of creativity (G. Tsypin) and various interpretative versions of J. Kaufmann, the following components of his singing style have been formulated. 1. Intellectualism, conceptuality of the idea and «cyclicality» of the embodiment – the parameter that is manifested in the singer’s interpretation of the image of Faust in different interpretations (1999 – opera by F. Busoni, 2002, 2005, 2011, 2012, 2015 – dramatic legend by H. Berlioz and opera by S. Gounod, 2011 – symphony by F. Liszt). Moreover, the basis of the singer’s interpretations in the compositions by Ch. Gounod, F. Busoni, H. Berlioz is the German tradition of interpreting the image of Faust and, in particular, Goethe’s poem), which forms the integrity of the singer’s interpretative concept. It has been pointed out that J. Kaufmann always chooses complex programs (chamber cycles by R. Wagner, R. Strauss, G. Mahler) for the formation of liberabends, and the programs are dominated by song cycles «Five Songs on Matilda Wesendonk’s Poems» by R. Wagner, «Three Sonnets of Petrarch» by F. Liszt, «Seven Sonnets of Michelangelo» by B. Britten, «Winter Road» by F. Schubert, «Songs about the Dead Children» by G. Mahler), or evenings are even dedicated to the creative work of one composer (R. Wagner, R. Strauss, G. Mahler), which is reinterpreted by the singer and presented in a new emotional and intellectual key. 2. Commitment to director’s theatre. J. Kaufmann shares the views on the dominance of director’s theatre in the modern world, which he repeatedly noted in the interviews. And although, in particular, the interpretation of Faust as a character of the concepts of different directors is centred by the artist”s personal understanding of the depths of this image, still in different performances one can see its different shades (which depend on the director’s interpretations). 3. Composite system of vocal expression means that allow the singer to model different facets of images. It is noted that J. Kaufmann’s interpretations are characterized by: economy of performing means, commitment of the singer to the cantilena, the role of the rhythmic component in the vocal score, the ability to adjust his voice in different vocal ensembles, brilliant piano and mezzo voce, brightness of forte, filigree of diminuendo and more. J. Kaufmann treats the text (score) with respect, always knows the libretto, he never allows himself to exaggerate in terms of agogics, dynamics, etc.). In Kaufmann’s performance, masculinity always prevails. Conclusions. The essence of the phenomenon of J. Kaufmann’s work is the desire not to stand still, to move forward, to open new pages of music or to rethink already known ones, i. e. the tendency to constant self-development, in terms of phenomenology This applies to the interpretations of the works by F. Schubert, G. Mahler, R. Strauss, the mentioned interpretation of the image of Faust in the works of various composers, which demonstrates his constant rethinking. J. Kaufmann’s chamber performing is of great interest for the study of his style. The complexity and diversity of images, texts of works, the unity of style, the ability to distribute the power of the voice, to subordinate its capabilities to the artistic idea – these are the features that characterize a true master. In addition, in his control is to almost the entire tenor repertoire – opera, concert, and chamber. Overall, we regard him a singer of universal type.
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Kuzmin, Vsevolod E. "“Il Mio Tesoro” by Wolfgang Amadeus Mozart: The Individual Features of Breath Control by Tenor Singers upon Performance of Vocalizations." Music Scholarship / Problemy Muzykal'noj Nauki, no. 4 (December 2020): 241–49. http://dx.doi.org/10.33779/2587-6341.2020.4.241-249.
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Bagastiar, Akbar, and Asnie Izzatul Anshory. "Exploring the interplay of choreography and singing techniques in vocal group performances at Pekan Seni Mahasiswa Nasional Competition." Interlude: Indonesian Journal of Music Research, Development, and Technology 3, no. 1 (November 30, 2023): 1–7. http://dx.doi.org/10.17509/interlude.v3i1.70082.
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A vocal group is a group of individuals with singing skills united in one Group with different vocal voices. Several voice levels in vocal groups range from soprano, alto, tenor, and bass. In the presentation of vocal groups, two aspects need to be considered: musical and non-musical. Some examples of musical aspects that need to be considered in group vocals are intonation, timbre, dynamics, technique, and arrangement of works. Apart from that, non-musical aspects also play an essential role in the presentation of vocal groups. Some examples of musical aspects that must be considered are costumes, props, and choreography. This research discusses choreography in Partere Voce, where the choreography can influence the breathing strength of the singers, so vocal group members need specific singing techniques. The method used for this research is data collection through interviews and observations. Researchers participated in the competition activities so that they knew the field conditions and felt what was complained about; after that, the researchers tried to find the main points of the problem and solutions to the perceived problems.
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Sargsyan, Lusine. "Musical Allusions in James Joyce's Dubliners and the Problem of Their Translation." Translation Studies: Theory and Practice 1, no. 2 (December 23, 2021): 45–54. http://dx.doi.org/10.46991/tstp/2021.1.2.045.
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Abstract: The importance of music in the works of James Joyce has long been acknowledged by Joycean scholars, though few systematic attempts have been made to deal with musical allusions. A tenor singer in his youth, Joyce fills his writings with musical references and allusions used for certain purposes in his own style. No matter how music is applied, one thing is certain - musical allusions always add a further dimension to his stories, provide a deeper understanding to a piece of literature making it unique and revealing the unknown. Translation of allusive texts has always been of great interest to linguists, professional translators and literary critics. It requires some strategic and problem-solving competence, as well as cross-cultural awareness, as allusions are closely interconnected with the cultural SL content.
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Wahyuni, Ni Made Putri, Luh Arida Ayu Rahning Putri, I. Gusti Ngurah Anom Cahyadi Putra, Dewa Made Bayu Atmaja Darmawan, Made Agung Raharja, and Agus Muliantara. "Implementasi Metode K-Nearest Neighbor Dalam Mengklasifikasikan Jenis Suara Berdasarkan Jangkauan Vokal." JELIKU (Jurnal Elektronik Ilmu Komputer Udayana) 11, no. 1 (July 20, 2022): 187. http://dx.doi.org/10.24843/jlk.2022.v11.i01.p20.
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Humans have voice characteristics with different vocal ranges, namely the male voice consists of Tenor, Baritone, and Bass, while the female voice consists of Soprano, Mezzosoprano, and Alto. Determining the voice range, especially for a singer, requires a vocal trainer or musical instrument that is quite difficult to access. Therefore, a sound classification system created based on vocal range using the Harmonic Product Spectrum (HPS) feature extraction method and the K-Nearest Neighbors (KNN) classification method uses k parameters from 1 to 40. The test gets the highest accuracy on parameter k=8, which is 88.88%, so that from the resulting accuracy to prove the K-Nearest Neighbor (KNN) method gives good results in classifying the type of voice.
Keywords: Classification, Vocal range, Harmonic Product Spectrum, K-Nearest Neighbors
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Козлова, Л. А. "Italian Odessa: The Second Homeland of Ambrogio Dagnini, Tenor from Mantova." OPERA MUSICOLOGICA 15 / 4, no. 2023. 15/4 (November 23, 2023): 30–41. http://dx.doi.org/10.26156/om.2023.15.4.002.
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Благодаря взлету традиции бельканто в первой половине XIX в. итальянская опера молниеносно завоевала сцены европейских театров. Одессу новая мода завоевала раньше, чем Санкт-Петербург и Москву. Именно в этом городе активно работали многие известные итальянские музыканты. Среди них чрезвычайно привлекательна история старинного мантуанского рода Данини, представители которого впоследствии внесли заметный вклад в развитие отечественных науки и искусства. Основоположник российской ветви семейства тенор Амброджио Данини, приехав в 1840 г. на гастроли в Одессу, обрел в России вторую родину. В статье рассматриваются особенности одесской музыкальной культуры и изменения в ней, произошедшие благодаря деятельности мантуанского певца. Italian opera quickly conquered the scenes of European theaters, due to the rise of the Italian bel canto style in the first half of the 19th century. The new fashion came to Odessa earlier than to St. Petersburg and Moscow. Particularly interesting are the turns in the fate of the Italians who remained in Russia and served for the good of their new Fatherland. Among them is the history of the ancient Mantova family of Dagnini, who subsequently made a significant contribution to the development of domestic science and art. Arriving in 1840 on tour in Odessa, tenor Ambrogio Dagnini, who started the Russian branch of the family, found here his second homeland in Russia. The article studies specifics of the development of the cultural environment in Odessa and changes therein due to the work and art of the singer and his significant influence on the local opera house.
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Jiang, Qin. "The timbre-role of the colouratura soprano in the semantic reference points of an opera workу." Aspects of Historical Musicology 29, no. 29 (December 29, 2022): 204–16. http://dx.doi.org/10.34064/khnum2-29.11.
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Statement of the problem. Opera is one of the most popular and most difficult musical phenomena for scientific comprehension. The attention of musicologists is consistently focused on the vocal component, because it is the art of singing that has affected the emergence, evolution, numerous reforms and modern transformations of dramma per musica. While in dramatic theatre, in order to comprehend the plot’s conflicts, we need to hear and understand literally every word spoken on stage, in opera this is not necessary and does not prevent us from following the development of the plot, which is revealed on a musical level, where the beauty of the human voice is of particular importance. Therefore, belonging to a certain role in opera is determined by the type of singer’s voice. The purpose of this work is to outline the basic approaches to the interpretation of the timbre-role of the colouratura soprano in Western European opera. Results and conclusion. The history of Western European vocal art goes back several centuries, during which the content, language resources, genre systems and areas of music-making have changed significantly. This provoked a rethinking of the sound-expressive and dynamic capabilities of the human voice and changes in approaches to the classification of singer’s voices. For example, in the twelfth century, the transition from monody to polyphony determined the need to divide the functions of male voices (because women did not sing in churches). A system similar to the modern one was developed: tenor; discant (later named soprano); alto; bass. However, the development of solo vocal performance and opera art influenced the reconsideration of the expressive capabilities of the human voice. If in the Renaissance vocal tradition, the soloist’s voice was supposed to sound like an analogue of the most virtuoso instrument, then gradually requirements for natural voice sound were formed. However, virtuosity prevailed in vocal art for a long time, influencing the formation of the bel canto style, the heyday of which is associated with the work of castrato singers. However, over time, aesthetic guidelines changed, and gradually vocal teachers began to use the bel canto technique in their work with natural voices. One of the consequences of these transformations was the clarification of the classification of singing voices and the crystallisation of the corresponding stage roles. Let us analyse the vocal and stage potential of the colouratura soprano in this aspect, pointing out that there are still several different interpretations of this concept. Historically, the first of them comes from the technique of performance, but as for the definition of “colouratura soprano” itself, its use is not generally accepted. A significant number of vocal teachers are inclined to believe that the most appropriate distribution of female voices is the following: soprano – mezzosoprano – contralto. Nevertheless, in the Fach System, which is the most widespread in contemporary opera practice, we find references to colouratura: lyric colouratura soprano, colouratura mezzo-soprano, and dramatic colouratura soprano. And while this division is conditional and does not deny the performance of roles intended for a different voice, the requirements of contemporary opera directors to match not only the voice, but also the age and appearance of the performers to the chosen character still make their own adjustments. herefore, as a conclusion of the study, we would like to express the opinion that colouratura sopranos are “doomed” to perform the roles of young girls and representatives of the otherworld.
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Anadón Mamés, Roberto. "Caruso y el disco: primeras grabaciones, controversia de su datación y análisis artístico en el centenario de su muerte." Artigrama, no. 37 (June 30, 2023): 291–306. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2022379219.
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Resumen
Enrico Caruso, paradigma del tenor italiano del que se ha cumplido recientemente el centenario de su muerte, traspasó los umbrales de su campo profesional para convertirse en un mito universal, lo que nunca hubiera sido posible sin su relación con el disco. Fue el primer cantante en vender masivamente copias de un mismo ejemplar y con él despegó la naciente industria fonográfica. Este artículo, centrado en sus registros europeos previos a 1904 para las firmas Gramophone and Typewriter Company Ltd., Zonophone y Pathé Frères, asociadas estas dos últimas a la Anglo-Italian Commerce Company, pretende reunir y ordenar el resultado de investigaciones anteriores y aportar un criterio analítico, estético y técnico, que contribuya a sustentar la cronología de sus primeras grabaciones, basada hasta la fecha en fuentes documentales fragmentarias auxiliadas por hipótesis, ajenas al examen artístico, para tratar de cubrir las lagunas existentes.
Abstract
Enrico Caruso, paradigm of the Italian tenor whose centenary of his death has recently been celebrated, crossed the thresholds of his professional field to become a universal myth, which would never have been possible without his relationship with the record. He was the first singer to sell massively copies of the same title and with him the nascent phonographic industry took off. This article, focusing on his European records prior to 1904 for the firms Gramophone and Typewriter Company Ltd., Zonophone and Pathé Frères, the latter two associated with the Anglo-Italian Commerce Company, aims to gather and order the results of previous research and provide an analytical, aesthetic and technical criterion, which helps to support the chronology of his first recordings, based to date on fragmentary documentary sources aided by hypotheses, unrelated to the artistic examination, to try to fill any gaps.
Keywords
Caruso, Record, Tenor, Phonography, Gramophone, G&T, Zonophone, Pathé Frères.
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Fink, Kinga. "Artysta w drodze. Wędrówki muzyka Stanisława Bursy nie tylko po Galicji z przełomu XIX i XX wieku." Galicja. Studia i materiały 6 (2020): 155–80. http://dx.doi.org/10.15584/galisim.2020.6.8.
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Stanisław Bursa (1865–1947) represented the 19th century type of a versatile artist, known as a singer (tenor), a conductor, a composer and a pedagogue. At the same time he made a career as a clerk (an employee of the Mutual Insurance Company in Cracow). The life of Bursa since 1914 is marked with the experience of travelling and a constant change in his place of residence. He moved around Galicia as an insurance clerk, went on educational trips, made journey to improve his health and visited his numerous family. Regular artistic trips in Galicia and the territory of the Prussian partition and Silesia, undertaken since the first decade of the 19th century provide opportunities also for additional profit. The present study focuses on the issue of mobility and its influence on the course of the artistic career not only from the perspective of internal migration but also the mobility understood as the ability to act on multifarious fields in the professional dimension.
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Tomczyk, Izabela. "Bohater heterogeniczny – opera, cyrk i kicz w filmie Filipa Bajona „Aria dla atlety”." Załącznik Kulturoznawczy, no. 3 (2016): 114–35. http://dx.doi.org/10.21697/zk.2016.3.07.
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The author analyzing Filip Bajon’s film Aria for an Athlete focuses on the relationship between opera and circus, paying attention primarily to their interrelationship and not the differences. According to the author, the category common to both shows is kitsch. Any kind of art has in its history phase of kitsch, yet what is derived from the kitsch can become the beginning of art. While describing the coexistence of opera and circus, author makes a study of three movie characters: Władysław Góralewicz, clown Max and tenor Babtisto Messalini. In her opinion, these representatives of respectively the world of circus or the opera, have a number of attributes that allow to assign them the culture which is alien to them. Max, circus clown, elevates kitsch, but also shows a duality of nature of both commedia dell’arte and film, Góralewicz, artist-wrestler rooted in the circus, longs for the opera, singer Messalini, whose profession is to create a culture, brings to life kitsch.