As Distinct From Humming A Found Poem for Live Voice & Audio Media (2007).
click to listen.
Performance note:
Extend or repeat specified phonemes for several seconds
without changing the natural spoken pitch or rhythm of the voice.
An interest in female voices and in the castrato becomes evident in the 16th
century: improvised florid singing.
High voices were favored and the upper limits of the range much extended.
Vocal virtuosity of a high order, the exact nature of which is no longer entirely clear
because of the loss
of authentic performance traditions.
(a highly developed singing style)
It is also likely.
A sensitive nuance to the vocal line
the main source of expressiveness.
The voice: the most complex of all musical instruments.
Opera, cantata, oratorio: an affective declamation of the text,
rethinking the relation between
words and vocal style.
The basis of the art was vocal flexibility.
(the singer's function, progressively circumscribed)
The singer having been at times also priest, healer, actor, poet, and much else,
Preferences in timbre, register, and tessitura described by Benigne de Bacilly and Jean-Antoine Berard:
a sweeter and less rich quality of tone may have been favored.
Adumbrated electronic sound amplification:
(to shape their voices to its requirements)
Since ignorance of the vocal mechanism long prevented
the formation of precise terminology necessary for detailed investigations.
(the long popularity of the falsettist and castrato)
Embodied in the dramatic soprano, singers were reduced
to interpreters of the composer's intentions.
The first half of the 19th century marks the transition.
(voices have remained free)
The role of singing as determiner of musical style diminished.
(to develop the individual qualities of voices
and musical temperaments)
All phrases found in The Harvard Dictionary of Music by D. M. Randel
Extend or repeat specified phonemes for several seconds
without changing the natural spoken pitch or rhythm of the voice.
An interest in female voices and in the castrato becomes evident in the 16th
century: improvised florid singing.
High voices were favored and the upper limits of the range much extended.
Vocal virtuosity of a high order, the exact nature of which is no longer entirely clear
because of the loss
of authentic performance traditions.
(a highly developed singing style)
It is also likely.
A sensitive nuance to the vocal line
the main source of expressiveness.
The voice: the most complex of all musical instruments.
Opera, cantata, oratorio: an affective declamation of the text,
rethinking the relation between
words and vocal style.
The basis of the art was vocal flexibility.
(the singer's function, progressively circumscribed)
The singer having been at times also priest, healer, actor, poet, and much else,
Preferences in timbre, register, and tessitura described by Benigne de Bacilly and Jean-Antoine Berard:
a sweeter and less rich quality of tone may have been favored.
Adumbrated electronic sound amplification:
(to shape their voices to its requirements)
Since ignorance of the vocal mechanism long prevented
the formation of precise terminology necessary for detailed investigations.
(the long popularity of the falsettist and castrato)
Embodied in the dramatic soprano, singers were reduced
to interpreters of the composer's intentions.
The first half of the 19th century marks the transition.
(voices have remained free)
The role of singing as determiner of musical style diminished.
(to develop the individual qualities of voices
and musical temperaments)
All phrases found in The Harvard Dictionary of Music by D. M. Randel