Composing for Voice: Exploring Voice, Language and Music, Second Edition, elucidates how language and music function together from the perspectives of composers, singers and actors, providing an understanding of the complex functions of the voice pedagogically, musicologically and dramatically. Composing for Voice examines the voice across a wide range of musical genres (including pop, jazz, folk, classical, opera and the musical) and explores the fusion of language and music that is unique to song. This second edition is enlarged to attract a wider readership amongst all music and theatre professionals and educators, whilst also engaging an international audience with the introduction of new co-author Maria Huesca. New to the second edition: A review of the history of singing An overview of the development of melisma A chapter to help performers understand each other, as singers and actors often receive disparate educations Case studies and qualitative research around song, lyric and meaning A discussion of the synthetic voice An introduction to the concept of embodied composition Interviews with composers and singers Summaries of various vocal styles A website with links to performances discussed, as well as related workshops: www.composingforvoice.com Composing for Voice: Exploring Voice, Language and Music, Second Edition, articulates possibilities for the practical exploration of language, music and voice by composers, singers and actors.
... John Adams, Louis Andriessen) The new tonality (Judith Weir) Polystylicity (Alfred Schnittke) Spectralism (Tristan Murail, Livia Teodorescu) Gesture (Sofia Gubaidulina) Spatialization (Thea Musgrave) Microtonality (Iannis Xenakis, ...
Each composer addresses the following topics: biography ; creative process ; the relationship between text and music; views from the composer to the conductor ; the relationship between the composer...
It includes a compact disc containing 50 examples of arranging techniques found in the text and covers such topics as scoring for 2-, 3-, and 4-part voices, scoring behind a soloist, vocal ranges, rehearsal techniques and voice-leading ...
Perhaps this is a more cogent reason for artists struggling to perform her repertoire “authoritatively” than the challenge of ... of intention versus innocence at the heart of the camp project(s) in the artist's work (see Chapter 6).
While many modern composers still use the bel canto style, others have used the extended vocal techniques developed by enterpris- ing singers, such as Dorothy Dorow, Mary Thomas, Jane Manning, Cathy Berberian, Roy Hart, and Linda Hirst, ...
It is the impact of science that tempers Miller's argument here, as he acknowledged that vocal practices do transcend national systems of training: The interchange of information among the related disciplines of vocal pedagogy, ...
Chapter 2 The Canon For more than twenty years, Anna Magdalena Bach (Johann Sebastian's second wife) kept a handsome gold-edged hard-covered notebook containing short ... It wasn't just that British and American spellings differed.
John La Montaine is known primarily for his Concerto for Piano and Orchestra, Opus 9, which was awarded the Pulitzer Prize for Music in 1959. In addition, he has won...
All of my students who sing in languages purchase the paperback , Pronouncing Guide to French , German , Italian , and Spanish , by Jones , Smith , and Walls ( Carl Fischer ) which features a brief vocabulary of words in all four ...
Music, we are often told, is a language. But if music is a language, then who is speaking? The Composer's Voice tries to answer this obvious but infrequently raised question.