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E-raamat: Composing for Voice: Exploring Voice, Language and Music 2nd edition [Taylor & Francis e-raamat]

(Royal Central School of Speech and Drama, University of London, UK), (Royal Central School of Speech and Drama, University of London, UK)
  • Formaat: 300 pages, 4 Tables, black and white; 89 Line drawings, black and white; 4 Halftones, black and white; 93 Illustrations, black and white
  • Sari: Routledge Voice Studies
  • Ilmumisaeg: 29-Mar-2018
  • Kirjastus: Routledge
  • ISBN-13: 9781315277172
  • Taylor & Francis e-raamat
  • Hind: 189,26 €*
  • * hind, mis tagab piiramatu üheaegsete kasutajate arvuga ligipääsu piiramatuks ajaks
  • Tavahind: 270,37 €
  • Säästad 30%
  • Formaat: 300 pages, 4 Tables, black and white; 89 Line drawings, black and white; 4 Halftones, black and white; 93 Illustrations, black and white
  • Sari: Routledge Voice Studies
  • Ilmumisaeg: 29-Mar-2018
  • Kirjastus: Routledge
  • ISBN-13: 9781315277172
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 singingAn overview of the development of melismaA chapter designed to help performers understand each other, as singers and actors often receive disparate educationsCase studies and qualitative research around song, lyric and meaningA discussion of the synthetic voiceAn introduction to the concept of embodied compositionInterviews with composers and singersSummaries of various vocal styles, including bel canto, the lyric voice, the belt voice, the rap voice, the dramatic voice, the virtuoso voice, the folk voice, the crooner, the live voice and the actor’s voiceA website with many of the links and performances of music discussed, as well as related workshops and seminars: www.composingforvoice.comComposing 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.
Preface x
Acknowledgements xii
Chapter 1 Words
1(13)
1.1 Words Being Spoken of Other Words
1(1)
1.2 Voice, Music and Language
2(2)
1.3 Voice
4(2)
1.4 Music
6(4)
1.5 Language
10(1)
1.6 Lyric Synthesis
11(3)
Chapter 2 Composers and Singers
14(30)
2.1 The Importance of Singing
14(4)
2.2 A Shift in Singing
18(3)
2.3 Vocal Music: Historical Perspectives for Composers and Writers
21(3)
2.4 The Twentieth Century
24(2)
2.5 Collaborations with Singers
26(1)
2.6 The Muse
27(2)
2.7 What Constitutes Good Vocal Writing?
29(15)
Chapter 3 The Nature of the Singing Voice: A Composer's Perspective
44(25)
3.1 Voice as Instrument
44(3)
3.2 Registers, Range and Categories
47(4)
3.3 Volume, Dynamics and Balance
51(3)
3.4 Legato Leaps
54(5)
3.5 Flexibility and Stamina
59(2)
3.6 Vibrato
61(1)
3.7 Navigating Text
62(7)
Chapter 4 Voice/Music/Text I
69(17)
4.1 Synthesis
69(4)
4.2 Texts for Composers
73(2)
4.3 Composers on Language
75(5)
4.4 Composers and Poets
80(6)
Chapter 5 Voice/Music/Text II
86(55)
5.1 Approaches to Intelligibility
86(1)
5.2 Legato
87(3)
5.3 Conditional Intelligibility
90(3)
5.4 Playing with Intelligibility
93(3)
5.5 Obscurity
96(4)
5.6 Unintelligibility
100(5)
5.7 Absence of Text
105(2)
5.8 Structural Forms
107(4)
5.9 Textual Interpolations
111(1)
5.10 Melisma
112(7)
5.11 Glissando and Portamento
119(5)
5.12 Dynamics
124(2)
5.13 Text Underlay in Scores
126(3)
5.14 Words, Music and Meaning: A Conversation Piece About Music
129(12)
Chapter 6 The Singer and the Actor---and Beyond
141(35)
6.1 Singing and Speaking I
141(4)
6.2 Melodrama
145(1)
6.3 Notation of Spoken Voice for Composers
146(2)
6.4 Singing and Speaking II
148(3)
6.5 Differences Between Singers and Actors
151(7)
6.6 The Synthesis of Music, Dance and Drama
158(5)
6.7 Composing for Synthetic or Disembodied Voices
163(5)
6.8 Composing for Puppets
168(8)
Chapter 7 Vocal Examples
176(51)
7.1 Brahms: Nachtigall, Op. 97, No. 1
177(3)
7.2 Britten: "Pastoral" (Serenade, Op. 31)
180(3)
7.3 Debussy and Ravel: "Placet futile" (Trois Poemes de Stephane Mallarme)
183(3)
7.4 Donizetti: "Il dolce suono..." or "The Mad Scene" (Lucia di Lammermoor)
186(4)
7.5 Eisler: O Fallada, da du hangst
190(3)
7.6 Gershwin: "Summertime" (Porgy and Bess)
193(3)
7.7 Guettel: "Awaiting You" (Myths and Hymns)
196(1)
7.8 Kurtag: "... und eine neue Welt ..."
197(3)
7.9 Parton: "I Will Always Love You"
200(1)
7.10 Purcell: "Dido's Lament" (Dido & Aeneas)
201(3)
7.11 Purcell: Music for a While
204(2)
7.12 Ravel: "Vocalise-Etude" (en Forme de Habanera)
206(2)
7.13 Schoenberg: "Nacht" (Pierrot Lunaire)
208(3)
7.14 Schubert: "Du Bist die Ruhe," Op. 59, No. 3 (Ruckert Lieder, 1823)
211(3)
7.15 Schumann: "Auf einer Burg" (Liederkreis, No. 7)
214(2)
7.16 Judith Weir: King Harald's Saga
216(3)
7.17 Wolf: "Kennst du das Land" (Goethe-Lieder, No. 9)
219(3)
7.18 Barker: The Pillow Song
222(5)
Chapter 8 Singers on Composers
227(20)
Omar Ebrahim
Richard Jackson
Katalin Karolyi
Janis Kelly
Sarah Leonard
Lore Lixenberg
Frances Lynch
Jane Manning
Susanah Self
Eleni Skarpari
Kate Westbrook
8.1 Has your collaboration with the composer ever resulted in a change to the music and, if so, with what result?
229(2)
8.2 Have you ever refused to sing a new work, and, if so, why?
231(3)
8.3 Have you ever discovered new things about your voice through collaborating with a composer?
234(1)
8.4 Do you have any advice for composers and singers who wish to collaborate?
235(3)
8.5 What makes words singable?
238(4)
8.6 Singers' Biographies
242(5)
Chapter 9 Conclusions and a Way Forward
247(29)
9.1 Conclusions and a Way Forward
247(1)
9.2 Music and Words
248(1)
9.3 The Sound of the Human Voice
249(1)
9.4 Visual Aspects of Performance
250(1)
9.5 Conclusion: Whose Voice Is It Anyway?
251(3)
9.6 How the Audience Hears
254(1)
9.7 Male and Female Voices
255(7)
9.8 Nudity and Performance
262(2)
9.9 Going for a Song
264(4)
9.10 Extending Compositional Domains
268(8)
Chapter 10 Educational Activities
276(15)
10.1 Street Songs
280(1)
10.2 Composing on One Note
280(1)
10.3 Songs without Words
281(1)
10.4 Words without Songs
281(1)
10.5 Identical Texts
282(1)
10.6 Time Limits
283(1)
10.7 One Breath
284(1)
10.8 Writing a Song for Children to Hear
284(1)
10.9 Improvisation
284(1)
10.10 The Break
285(1)
10.11 Vocal Categories
286(1)
10.12 Legato and Leaps
286(1)
10.13 Air and Breath
286(1)
10.14 Dynamics
287(1)
10.15 Flexibility and Stamina
287(1)
10.16 Composing Between the Notes
287(1)
10.17 Music and Language
288(1)
10.18 Vowels
288(1)
10.19 Diphthongs
289(1)
10.20 Consonants and Sibilants
289(1)
10.21 Vibrato
289(1)
10.22 Text Underlay in Scores
290(1)
Index 291
Paul Alan Barker is Professor of Music Theatre at the Royal Central School of Speech and Drama, University of London.

Maria Huesca is Lecturer at the Royal Central School of Speech and Drama, University of London.