| Preface |
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| Acknowledgements |
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1 | (13) |
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1.1 Words Being Spoken of Other Words |
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1 | (1) |
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1.2 Voice, Music and Language |
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2 | (2) |
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4 | (2) |
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6 | (4) |
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10 | (1) |
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11 | (3) |
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Chapter 2 Composers and Singers |
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14 | (30) |
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2.1 The Importance of Singing |
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14 | (4) |
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18 | (3) |
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2.3 Vocal Music: Historical Perspectives for Composers and Writers |
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21 | (3) |
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2.4 The Twentieth Century |
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24 | (2) |
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2.5 Collaborations with Singers |
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26 | (1) |
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27 | (2) |
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2.7 What Constitutes Good Vocal Writing? |
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29 | (15) |
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Chapter 3 The Nature of the Singing Voice: A Composer's Perspective |
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44 | (25) |
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44 | (3) |
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3.2 Registers, Range and Categories |
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47 | (4) |
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3.3 Volume, Dynamics and Balance |
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51 | (3) |
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54 | (5) |
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3.5 Flexibility and Stamina |
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59 | (2) |
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61 | (1) |
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62 | (7) |
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Chapter 4 Voice/Music/Text I |
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69 | (17) |
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69 | (4) |
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73 | (2) |
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4.3 Composers on Language |
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75 | (5) |
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80 | (6) |
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Chapter 5 Voice/Music/Text II |
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86 | (55) |
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5.1 Approaches to Intelligibility |
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86 | (1) |
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87 | (3) |
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5.3 Conditional Intelligibility |
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90 | (3) |
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5.4 Playing with Intelligibility |
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93 | (3) |
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96 | (4) |
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100 | (5) |
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105 | (2) |
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107 | (4) |
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5.9 Textual Interpolations |
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111 | (1) |
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112 | (7) |
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5.11 Glissando and Portamento |
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119 | (5) |
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124 | (2) |
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5.13 Text Underlay in Scores |
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126 | (3) |
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5.14 Words, Music and Meaning: A Conversation Piece About Music |
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129 | (12) |
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Chapter 6 The Singer and the Actor---and Beyond |
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141 | (35) |
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6.1 Singing and Speaking I |
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141 | (4) |
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145 | (1) |
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6.3 Notation of Spoken Voice for Composers |
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146 | (2) |
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6.4 Singing and Speaking II |
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148 | (3) |
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6.5 Differences Between Singers and Actors |
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151 | (7) |
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6.6 The Synthesis of Music, Dance and Drama |
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158 | (5) |
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6.7 Composing for Synthetic or Disembodied Voices |
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163 | (5) |
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6.8 Composing for Puppets |
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168 | (8) |
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176 | (51) |
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7.1 Brahms: Nachtigall, Op. 97, No. 1 |
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177 | (3) |
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7.2 Britten: "Pastoral" (Serenade, Op. 31) |
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180 | (3) |
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7.3 Debussy and Ravel: "Placet futile" (Trois Poemes de Stephane Mallarme) |
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183 | (3) |
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7.4 Donizetti: "Il dolce suono..." or "The Mad Scene" (Lucia di Lammermoor) |
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186 | (4) |
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7.5 Eisler: O Fallada, da du hangst |
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190 | (3) |
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7.6 Gershwin: "Summertime" (Porgy and Bess) |
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193 | (3) |
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7.7 Guettel: "Awaiting You" (Myths and Hymns) |
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196 | (1) |
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7.8 Kurtag: "... und eine neue Welt ..." |
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197 | (3) |
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7.9 Parton: "I Will Always Love You" |
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200 | (1) |
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7.10 Purcell: "Dido's Lament" (Dido & Aeneas) |
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201 | (3) |
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7.11 Purcell: Music for a While |
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204 | (2) |
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7.12 Ravel: "Vocalise-Etude" (en Forme de Habanera) |
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206 | (2) |
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7.13 Schoenberg: "Nacht" (Pierrot Lunaire) |
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208 | (3) |
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7.14 Schubert: "Du Bist die Ruhe," Op. 59, No. 3 (Ruckert Lieder, 1823) |
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211 | (3) |
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7.15 Schumann: "Auf einer Burg" (Liederkreis, No. 7) |
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214 | (2) |
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7.16 Judith Weir: King Harald's Saga |
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216 | (3) |
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7.17 Wolf: "Kennst du das Land" (Goethe-Lieder, No. 9) |
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219 | (3) |
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7.18 Barker: The Pillow Song |
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222 | (5) |
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Chapter 8 Singers on Composers |
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227 | (20) |
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8.1 Has your collaboration with the composer ever resulted in a change to the music and, if so, with what result? |
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229 | (2) |
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8.2 Have you ever refused to sing a new work, and, if so, why? |
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231 | (3) |
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8.3 Have you ever discovered new things about your voice through collaborating with a composer? |
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234 | (1) |
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8.4 Do you have any advice for composers and singers who wish to collaborate? |
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235 | (3) |
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8.5 What makes words singable? |
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238 | (4) |
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242 | (5) |
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Chapter 9 Conclusions and a Way Forward |
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247 | (29) |
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9.1 Conclusions and a Way Forward |
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247 | (1) |
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248 | (1) |
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9.3 The Sound of the Human Voice |
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249 | (1) |
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9.4 Visual Aspects of Performance |
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250 | (1) |
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9.5 Conclusion: Whose Voice Is It Anyway? |
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251 | (3) |
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9.6 How the Audience Hears |
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254 | (1) |
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9.7 Male and Female Voices |
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255 | (7) |
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9.8 Nudity and Performance |
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262 | (2) |
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264 | (4) |
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9.10 Extending Compositional Domains |
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268 | (8) |
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Chapter 10 Educational Activities |
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276 | (15) |
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280 | (1) |
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10.2 Composing on One Note |
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280 | (1) |
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281 | (1) |
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281 | (1) |
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282 | (1) |
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283 | (1) |
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284 | (1) |
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10.8 Writing a Song for Children to Hear |
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284 | (1) |
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284 | (1) |
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285 | (1) |
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286 | (1) |
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286 | (1) |
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286 | (1) |
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287 | (1) |
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10.15 Flexibility and Stamina |
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287 | (1) |
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10.16 Composing Between the Notes |
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287 | (1) |
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288 | (1) |
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288 | (1) |
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289 | (1) |
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10.20 Consonants and Sibilants |
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289 | (1) |
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289 | (1) |
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10.22 Text Underlay in Scores |
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290 | (1) |
| Index |
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291 | |