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Singing in style : a guide to vocal performance practices

Author: Martha Elliott
Publisher: New Haven : Yale University Press, [2006] ©2006
Edition/Format:   eBook : Document : EnglishView all editions and formats
Database:WorldCat
Summary:
The first historical overview of vocal performance practice and style ever published, Singing In Style provides an introduction to how such issues as ornamentation, vibrato, rubato, portamento, articulation, tempo, language, and accompaniment with period instruments have been handled since the seventeenth century. Each chapter presents a historical period and gives background information on the singers and  Read more...
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Genre/Form: Electronic books
Criticism, interpretation, etc
Additional Physical Format: Print version:
Elliott, Martha.
Singing in style.
New Haven : Yale University Press, ©2006
(DLC) 2005009701
(OCoLC)59002670
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Martha Elliott
ISBN: 9780300138085 0300138083
OCLC Number: 861792946
Description: 1 online resource (xii, 356 pages) : illustrations
Contents: Introduction --
1. The early Baroque ; Baroque notation ; Scores and editions ; Thoroughbass ; Accompaniment instruments ; Pitch ; Vibrato ; Words and music ; Historical pronunciation ; Italy ; Voice types and registers ; Ornamentation ; England ; Voice types and ranges ; Ornamentation ; France ; Voice types and ranges ; Dance forms ; Notes inégales ; Ornamentation ; Diction --
2. The late Baroque ; Scores and notation ; Modern editions ; Tempo ; Articulation ; Rhythmic alteration ; Legato ; Vibrato and breath ; Pitch ; Period instruments ; Recitative ; Italian influence ; Ornamenting arias ; Handel's Messiah ; Germany ; Ornamentation ; J.S. Bach and his singers ; France ; Secular cantatas ; Ornamentation --
3. The Classical era ; Scores and editions ; Classical instruments ; Articulation and legato ; Tempo and rhythm ; Voice types and ranges ; Mozart on singers ; Vibrato and portamento ; Recitative ; Ornamentation --
4. Italian bel canto ; Scores and editions ; Articulation and phrasing ; Tempo, rhythmic flexibility, and rubato ; Voice types ; Technique ; Vibrato ; Portamento ; Ornamentation ; Cadenzas and improvised florid embellishment --
5. German Lieder ; Editions ; Transpositions ; German diction and technique ; Articulation and expression marks ; Embellishment ; Notated ornaments ; Vibrato and portamento ; The Piano ; Tempo and rhythm --
6. French mélodies ; editions, transpositions, and voice types ; French taste and aesthetics ; Ornamentation ; The Performer's new role ; Words and music ; Diction and articulation ; Portamento and vibrato ; Rhythm and tempo --
7. Second Viennese School ; Publications and editions ; Performance and analysis ; The Society for Private Musical Performance ; Music and text ; Pierrot Lunaire ; Sprechstimme in other works ; Dynamics and articulation ; Tempo and rubato ; Learning this music --
8. Early twentieth-century nationalism ; Russia ; Musorgsky and Olenina ; Rimsky-Korsakov, Rachmaninov, and Chaliapin ; Prokofiev ; Shostakovich ; Editions and language ; Spain ; Falla ; Rodrigo ; Editions ; England ; Britten and Pears ; Editions ; United States ; Ives ; Copland ; Barber ; Editions --
9. Working with living composers ; Voice types ; Manuscripts, revisions, and published scores ; Notation ; Special vocal effects ; Other special instructions or requirements ; Learning difficult rhythms and pitches ; Vibrato ; Text and music ; Composers as performers ; Using recordings ; Conclusions: Finding the composers' intentions.
Responsibility: Martha Elliott.
More information:

Abstract:

The first historical overview of vocal performance practice and style ever published, Singing In Style provides an introduction to how such issues as ornamentation, vibrato, rubato, portamento, articulation, tempo, language, and accompaniment with period instruments have been handled since the seventeenth century. Each chapter presents a historical period and gives background information on the singers and composers, the vocal repertoire, and the stylistic conventions of that time. Specific repertoire examples are discussed as well, to show how to use the music itself as a context for making stylistic choices. Each chapter also has an extensive reference list arranged by topic, so the interested reader can pursue a particular subject in more depth. Covering the Baroque period to the present, Elliott casts a wide net, bringing together information from historical treatises, personal accounts from composers, performers, historians, critics, and current scholarly commentary into one convenient handbook for the student and the amateur and professional performer who want to learn more about how vocal works were sung in their day.

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"A very important addition to the field. I recommend it to students and teachers."--Paul Sperry, Manhattan School of Music --Paul Sperry

 
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