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Perfect Italian Diction for Singers: An Authoritative Guide [Kõva köide]

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  • Formaat: Hardback, 250 pages, kõrgus x laius x paksus: 236x158x21 mm, kaal: 581 g, 145 BW Illustrations
  • Ilmumisaeg: 26-Oct-2022
  • Kirjastus: Rowman & Littlefield Publishers
  • ISBN-10: 1538163403
  • ISBN-13: 9781538163405
Teised raamatud teemal:
Perfect Italian Diction for Singers: An Authoritative GuideSuurem pilt
  • Formaat: Hardback, 250 pages, kõrgus x laius x paksus: 236x158x21 mm, kaal: 581 g, 145 BW Illustrations
  • Ilmumisaeg: 26-Oct-2022
  • Kirjastus: Rowman & Littlefield Publishers
  • ISBN-10: 1538163403
  • ISBN-13: 9781538163405
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781538163405.html
Märksõnad:
Perfect Italian Diction for Singers is an authoritative guide for singing the most beautiful and expressive Italian. This book is the culmination of decades of experience and insights by two noted Italian and American pedagogues and vocal coaches as they systematically home in on essential features of the most beautiful Italian, the main issues and pitfalls of non-Italian singers, and steps and tools to overcome them.

Timothy Cheek and Anna Toccafondi provide a step-by-step guide for singing flawlessly in this language, and, in addition to delving to the heart of Italian sounds and inflection, they present controversies, misconceptions, and various approachesoften conflictingthat have arisen throughout the last century for approaching Italian diction. Chapters also address:





Italian style and legato Best use of supplemental resources and dictionaries Recitative with suggested, short Mozart excerpts Working with text Singing diphthongs, triphthongs, and hiatus

Also included are a plethora of audio and video examples and exercises (over seventy QR codes), written exercises for group or self-study, and self-assessment summaries at the ends of chapters. Careful study of this book will help to lay a solid foundation for communicating in beautiful lyric Italian.
Recorded Examples and Exercises ix
Foreword xv
Lawrence Brownlee
Thomas Hampson
Preface xvii
1 The Basis for the Most Beautiful and Correct Lyric Italian Diction
1(10)
Dialects and a Written Language
1(6)
Notes
7(4)
2 The Seven Italian Vowel Sounds
11(26)
The Italian Vowels
11(4)
The Three Tongue Vowels
15(7)
Diminutives
22(1)
The Three Lip Vowels
23(9)
The Bright [ a] Vowel
32(4)
Self-Assessment
36(1)
Notes
36(1)
3 The Essentials of Stress and Length
37(28)
Syllables: Open and Closed Syllabification
38(2)
Monosyllabic Words
40(3)
Stress in Polysyllabic Words
43(7)
Finding Stress
50(13)
Self-Assessment
63(1)
Notes
64(1)
4 The Pronunciation of e and o
65(24)
Stressed e and o
65(7)
Unstressed e and o
72(1)
Avoiding the Pitfalls of Singing come scritto
73(1)
Recordings
74(1)
Practicing Closed and Open e and o
75(1)
Common Patterns
76(6)
Exercises for Finding the Pronunciation of e and o
82(5)
Self-Assessment
87(1)
Notes
87(2)
5 The Italian Consonants
89(28)
Voiced and Unvoiced Consonants
89(1)
Mastering the Dental Consonants
90(2)
Rules for Flipped r and Rolled r
92(5)
Rules for the Pronunciation of s as [ s] and [ z]
97(6)
The Pronunciation of z---[ ts] and [ dz]
103(1)
Mastering gn [ p] and gli [ λ]
104(4)
Mastering [ n]: n + [ g] or [ k]
108(1)
Mastering the Dual Pronunciations of c, g, and sc
109(5)
Mastering the Remaining Consonants
114(1)
Self-Assessment
115(1)
Notes
116(1)
6 Double Consonants and Phrasal Doublings
117(22)
The Difference Between Single and Double Consonants
118(2)
The Four Categories of Double Consonants
120(6)
Phrasal Doublings: Raddoppiamento fonosintattico
126(9)
Common Italian Words Often Mispronounced
135(3)
Self-Assessment
138(1)
Notes
138(1)
7 Legato
139(4)
Self-Assessment
141(1)
Notes
141(2)
8 Mastering Glides, Hiatus, Diphthongs, and Triphthongs
143(24)
The Glide [ j] and [ w]
143(9)
Hiatus
152(1)
Contiguous Vowels Formed When Words Meet
153(11)
IPA, Marking Text, Foreseeing Issues, and Practicing
164(1)
Self-Assessment
165(1)
Notes
165(2)
9 Italian Style
167(8)
Philology
167(1)
Intonation of Italian Sentences
167(1)
Librettists and Composers
168(1)
The Centrality of the Singer
168(1)
Eye Witnesses
169(1)
The Special Color of the Italian Language and Dialects
170(1)
Non-Italian Interpreters
171(1)
Typical Elements of "Italian Style"
171(1)
Conclusions
172(1)
Notes
173(2)
10 Working with Text
175(12)
Language Study
175(2)
Grammar
177(1)
Inflection
177(3)
Building Phrases and Sentences
180(3)
Memorizing
183(1)
George Shirley
184(1)
Notes
185(2)
11 Best Use of Supplemental Resources
187(4)
Translating
187(1)
Digital Tools
188(2)
Notes
190(1)
12 Recitative
191(20)
Learning Recitative
196(4)
Comments on Two Mozart Excerpts
200(7)
Short Mozart Recitative Excerpts for Class Work
207(1)
Self-Assessment
208(1)
Notes
208(3)
Appendix A Verb Endings 211(4)
Appendix B Essential Grammar 215(6)
Selected References 221(2)
Index 223(4)
About the Authors 227
Timothy Cheek has taught Italian lyric diction at the University of Michigan since 1993. As collaborative pianist, he has performed throughout Italy, and worked for nine years in Tuscan summer vocal programs, both at Cincinnati Conservatorys Opera Theatre and Music Festival of Lucca program and at the University of Michigans spring term program in Sesto Fiorentino. Cheek has written books on Czech lyric diction and opera, and he is the series editor of Rowman & Littlefields Lyric Diction series. His long association with Italian pianist/coach Anna Toccafondi extends to over three decades of collaboration and consultation.

Anna Toccafondi performs regularly in major festivals and theaters in Italy, Europe, and Japan. She recently began a cooperation with the Municipality and the Teatro Garibaldi of Modica (Sicily) for the project Cantare in Perfetto Italiano, Singing in Perfect Italian, a series of masterclasses devoted to foreign singers and collaborative pianists. Committed to unpublished or lesser known compositions of the Italian vocal repertoire, Toccafondi has done research, transcriptions, revisions, and recordings of important composers.