| Description |
1 online resource |
| Series |
Routledge voice studies series |
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Routledge voice studies series.
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| Contents |
Cover; Title; Copyright; Contents; Preface; Acknowledgements; Chapter 1 Words; 1.1 Words Being Spoken of Other Words; 1.2 Voice, Music and Language; 1.3 Voice; 1.4 Music; 1.5 Language; 1.6 Lyric Synthesis; Chapter 2 Composers and Singers; 2.1 The Importance of Singing; 2.2 A Shift in Singing; 2.3 Vocal Music: Historical Perspectives for Composers and Writers; 2.4 The Twentieth Century; 2.5 Collaborations with Singers; 2.6 The Muse; 2.7 What Constitutes Good Vocal Writing?; Chapter 3 The Nature of the Singing Voice: A Composerâ#x80;#x99;s Perspective; 3.1 Voice as Instrument |
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3.2 Registers, Range and Categories3.3 Volume, Dynamics and Balance; 3.4 Legato Leaps; 3.5 Flexibility and Stamina; 3.6 Vibrato; 3.7 Navigating Text; Chapter 4 Voice/Music/Text I; 4.1 Synthesis; 4.2 Texts for Composers; 4.3 Composers on Language; 4.4 Composers and Poets; Chapter 5 Voice/Music/Text II; 5.1 Approaches to Intelligibility; 5.2 Legato; 5.3 Conditional Intelligibility; 5.4 Playing with Intelligibility; 5.5 Obscurity; 5.6 Unintelligibility; 5.7 Absence of Text; 5.8 Structural Forms; 5.9 Textual Interpolations; 5.10 Melisma; 5.11 Glissando and Portamento; 5.12 Dynamics |
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5.13 Text Underlay in Scores5.14 Words, Music and Meaning: A Conversation Piece About Music; Chapter 6 The Singer and the Actorâ#x80;#x94;and Beyond; 6.1 Singing and Speaking I; 6.2 Melodrama; 6.3 Notation of Spoken Voice for Composers; 6.4 Singing and Speaking II; 6.5 Differences Between Singers and Actors; 6.6 The Synthesis of Music, Dance and Drama; 6.7 Composing for Synthetic or Disembodied Voices; 6.8 Composing for Puppets; Chapter 7 Vocal Examples; 7.1 Brahms: Nachtigall, Op. 97, No. 1; 7.2 Britten: â#x80;#x9C;Pastoralâ#x80;#x9D; (Serenade, Op. 31) |
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7.3 Debussy and Ravel: â#x80;#x9C;Placet futileâ#x80;#x9D; (Trois PoÃm̈es de Stéphane Mallarmé)7.4 Donizetti: â#x80;#x9C;Il dolce suonoâ#x80;¦â#x80;#x9D; or â#x80;#x9C;The Mad Sceneâ#x80;#x9D; (Lucia di Lammermoor); 7.5 Eisler: O Fallada, da du hangst; 7.6 Gershwin: â#x80;#x9C;Summertimeâ#x80;#x9D; (Porgy and Bess); 7.7 Guettel: â#x80;#x9C;Awaiting Youâ#x80;#x9D; (Myths and Hymns); 7.8 Kurtág: â#x80;#x9C;â#x80;¦ und eine neue Welt â#x80;¦â#x80;#x9D;; 7.9 Parton: â#x80;#x9C;I Will Always Love Youâ#x80;#x9D;; 7.10 Purcell: â#x80;#x9C;Didoâ#x80;#x99;s Lamentâ#x80;#x9D; (Dido & Aeneas); 7.11 Purcell: Music for a While; 7.12 Ravel: â#x80;#x9C;Vocalise-Ã#x89;tudeâ#x80;#x9D; (en Forme de Habanera); 7.13 Schoenberg: â#x80;#x9C;Nachtâ#x80;#x9D; (Pierrot Lunaire) |
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7.14 Schubert: â#x80;#x9C;Du Bist die Ruhe, â#x80;#x9D; Op. 59, No. 3 (RÃơckert Lieder, 1823)7.15 Schumann: â#x80;#x9C;Auf einer Burgâ#x80;#x9D; (Liederkreis, No. 7); 7.16 Judith Weir: King Haraldâ#x80;#x99;s Saga; 7.17 Wolf: â#x80;#x9C;Kennst du das Landâ#x80;#x9D; (Goethe-Lieder, No. 9); 7.18 Barker: The Pillow Song; Chapter 8 Singers on Composers; 8.1 Has your collaboration with the composer ever resulted in a change to the music and, if so, with what result?; 8.2 Have you ever refused to sing a new work, and, if so, why?; 8.3 Have you ever discovered new things about your voice through collaborating with a composer? |
| Summary |
"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."--Provided by publisher |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Print version record and CIP data provided by publisher |
| Subject |
Composition (Music)
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Vocal music -- Instruction and study
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MUSIC -- Instruction & Study -- Voice.
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Composition (Music)
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Vocal music -- Instruction and study
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Komposition
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Vokalmusik
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| Form |
Electronic book
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| Author |
Huesca, Maria, author.
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| LC no. |
2017052217 |
| ISBN |
9781315277172 |
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1315277174 |
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9781351998543 |
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1351998544 |
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9781351998550 |
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1351998552 |
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9781351998536 |
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1351998536 |
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