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Zeitschriftenartikel zum Thema „Singing“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 31. Juli 2024

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1

LUMBAN GAOL, DEDI BENSAMAS. „ANALISIS TEKNIK BERNYANYI DIANA DAMRAU PADA OPERA “THE MAGIC FLUTE ARIA QUEEN OF THE NIGHT” KARYA WOLFGANG AMADEUS MOZART“. Grenek Music Journal 7, Nr. 2 (11.10.2018): 224. http://dx.doi.org/10.24114/grenek.v7i2.10987.

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This study aims to analyze, Technique of Singing Diana Damrau oin Opera TheMagic Flute Aria Queen Of The Night Works Wolfgang Amadeus Mozart. Thepurpose of this research is to know Technique of Singing, how to interpret andartistic overall Diana Damrau sing Opera The Magic Flute Aria Queen Of TheNight.The theory used is analyze, vocal technique, sound processing, sound formation,breathing, frasering, head voice, powering, vibrato, interpretation, singing, opera,aria,The method used in this research is qualitative descriptive method, namely aresearch method that aims to describe in detail and clearly about a phenomenonthat became the focus of research. This research is a qualitative descriptivelaboratory works, thus this research is held in the laboratory of sendratasik musiceducation program of state university of Negeri Medan. The results showed thatDiana Damrau sang aria by using singing technique that is base of vocaltechnique. The achievement of singing technique has been applied verry well,where the singging technique is articulation, breathing, posture, resonance,vibrato, intonation. This factor becomes the main point that from the analysis, ithas a verry high singing technique singing aria Queen Of The Night. DianaDamrau had application interpreation that is, the dynamics of mp, mf, f, ff, ff,aksen, sfz, fp, cressendo, descressendo. Tempo allegro assai, ad libitum,allargando.Style singging marcatto, alla marcia, legato, recitaive, ekspreso,stacatto, sustenuto, emozione. Angry authoritarian, direspectful and desire is anexpression Diana to sing the aria. On the basis of it can be started that the overallappearance of Diana Damrau is interconnected to build on the builder’s point tomake the appearance of Diana Damrau towards spectaculer.

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Panza, Costantino, und Maddalena Marchesi. „Il canto nelle cure primarie pediatriche“. QUADERNI ACP 28, Nr. 4 (2021): 166. http://dx.doi.org/10.53141/qacp.2021.166-169.

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Singing is one of the most used forms of language for the child and is present in all cultures. The musicality at the base of singing causes measurable biological responses in the singing adult and in the listening child. This article summarizes the most recent scientific evidence on the effects of adult singing (parent or caregiver) during the first years of life of a child. Singing reduces stress, promotes adult-child relationship and the child’s attention skills. Finally, the knowledge of singing’s positive effects emphasizes the importance of this knowledge for the pediatrician in informing families of this useful practice for supporting child development.

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MacDiarmid, Frazer. „De Utilitate Cantorum: Unitive Aspects of Singing in Early Christian Thought“. Anglican Theological Review 100, Nr. 2 (März 2018): 291–309. http://dx.doi.org/10.1177/000332861810000204.

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In this article, I draw from a number of church fathers who almost unanimously affirm the socially and cosmically unifying power of singing the Psalms. Often tacitly but unmistakably, they draw upon singing as a type of the person of Christ, a participative union of the divine with the human. However, investigation of singing's “illegitimate” pagan and Jewish heritage illustrates the reason for singing's ambivalence in the Christian mind. I conclude, however, that singing, employing the human body and its sensory faculties sanctified by Christ, constituted a far more valuable heuristic, pedagogic, and doxological tool in the early Christian centuries than we commonly appreciate today.

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Northoff, Thomas. „Lautloses Singen: LiedGraffiti / Soundless Singing, SongGraffiti“. Lied und populäre Kultur / Song and Popular Culture 47 (2002): 171. http://dx.doi.org/10.2307/3595189.

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5

Borčak, Lea Wierød, und Katrine Frøkjær Baunvig. „Sang og syngning i skolen“. Tidsskriftet SANG 4 (16.05.2024): 1–28. http://dx.doi.org/10.7146/sang.v4i.145310.

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Songs and singing in school: Danish school singing between tangible and intangible cultural heritage For centuries, singing has played a vital role in elementary schools in Denmark. During the 20th Century, singing’s significance – in Denmark as well as elsewhere in Europe – was gradually downplayed, and singing was reduced from an independent subject and an overarching activity to a subdiscipline under the broader subject of “Music”. In the 2020’s a renewed interest in communal singing is surging in Denmark; this also entails an increasing focus on the benefits of school singing. Political and societal discourse is fraught with wishes of revitalizing singing culture in schools. However, the arguments to support such wishes are quite different in nature, sometimes leading to misconceptions. This article aims to show that arguments for school singing fall within a continuum between two poles: In one end of the continuum, singing is valued as a way to preserve a culturally valued repertoire of songs, and in the other end, singing is valued as a beneficial activity regardless of what is being sung. The purpose of the article is thus to establish a conceptual distinction that has hitherto been unclear, underscored by the inability of the Danish language to discriminate clearly between “song” and “singing”. To support our case, we mobilize the conceptual pair of tangible and intangible cultural heritage, arguing that these can be mapped on to the distinction between school singing as preservation of songs vs. as an activity in its own right. Further, we trace the occurrence and connotation of the word “song” in Danish public newspapers from the late 18th Century to the 2020’s, showing that the term does indeed fluctuate between connotations of tangible and intangible cultural heritage throughout the period.

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Phyllis Sweitzer. „Singing“. Gestalt Review 5, Nr. 3 (2001): 218. http://dx.doi.org/10.5325/gestaltreview.5.3.0218.

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7

Hajar, Rachel. „Singing“. Heart Views 22, Nr. 3 (2021): 233. http://dx.doi.org/10.4103/heartviews.heartviews_95_21.

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8

Swann, Brian. „Singing“. College English 50, Nr. 3 (März 1988): 284. http://dx.doi.org/10.2307/378133.

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9

Linton, Otha. „Singing“. Academic Radiology 12, Nr. 4 (April 2005): 529. http://dx.doi.org/10.1016/j.acra.2005.01.003.

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10

Smith, Brenda. „Lifelong Singing: Choral Singing and Children“. Perspectives on Voice and Voice Disorders 12, Nr. 1 (März 2002): 31. http://dx.doi.org/10.1044/vvd12.1.31.

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11

Saputra, Trio, Eka Eka und Wasiah Sufi. „Pemetaan Implementasi Kebijakan Sistim Informasi Desa Di Kabupaten Kuantan Singingi“. Gulawentah:Jurnal Studi Sosial 5, Nr. 2 (04.12.2020): 115. http://dx.doi.org/10.25273/gulawentah.v5i2.6841.

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<p class="JOURNALABSTRACT-TITLE">Penelitian ini bertujuan untuk melakukan pemetaan implementasi kebijakan sistim informasi desa yang ada di kabupaten kuantan singing. Metode yang digunakan dalam penelitian ini adalah diskriptif kualitatif data bersumber dari data skunder dan primer analisis data menggunakan interaktif model. Hasil penelitian menunjukkan implemntasi kebijakan sistim informasi desa belum maksimal di kabupaten kuantan singingi yang terdapat 218 desa yang menerapkan sistim informasi desa di kabupaten kuantan singing hanya berjumlah 183 desa. Hal ini menunjukkan upaya yang dilakukan implementor kebijakan belum maksimal kepada pemerintah desa serta fasilitator belum melakukan pendampingan secara maksimal.</p>

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YOUNG-MASON, JEANINE. „Singing for the Joy of it, Singing for Hope, Singing to Heal“. Clinical Nurse Specialist 26, Nr. 6 (2012): 343–44. http://dx.doi.org/10.1097/nur.0b013e31826e3d92.

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13

Dastolfo-Hromack, Christina, Tracey L. Thomas, Clark A. Rosen und Jackie Gartner-Schmidt. „Singing voice outcomes following singing voice therapy“. Laryngoscope 126, Nr. 11 (27.06.2016): 2546–51. http://dx.doi.org/10.1002/lary.25962.

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14

Jeffers, Honorée Fanonne. „Singing Counter“. Iowa Review 43, Nr. 2 (September 2013): 70–72. http://dx.doi.org/10.17077/0021-065x.7394.

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Tunbridge, Laura. „Singing Translations“. Representations 123, Nr. 1 (2013): 53–86. http://dx.doi.org/10.1525/rep.2013.123.1.53.

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British attitudes toward German-language song repertoire were transformed in the interwar period by a potent combination of politics and technology. The use of translations gained and lost ground; native musicians struggled to compete with international stars; and new listening strategies developed around the gramophone and radio. In the process, notions of cosmopolitan connoisseurship became established that still dominate reception and performance practices today.

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McCaldin, Denis, und A. Peter Brown. „Singing Haydn“. Musical Times 127, Nr. 1723 (Oktober 1986): 560. http://dx.doi.org/10.2307/964391.

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17

Gorbman, Claudia. „Artless Singing“. Music, Sound, and the Moving Image 5, Nr. 2 (Januar 2011): 157–71. http://dx.doi.org/10.3828/msmi.2011.8.

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18

Mirikitani, Janice. „The Singing“. Amerasia Journal 37, Nr. 1 (Januar 2011): 34–37. http://dx.doi.org/10.17953/amer.37.1.xm65264643574h30.

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19

Greacen, Robert, und Glenn Patterson. „With Singing“. Books Ireland, Nr. 289 (2006): 261. http://dx.doi.org/10.2307/20632984.

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20

Weiss, Peter. „Singing Stairs“. Science News 155, Nr. 3 (16.01.1999): 44. http://dx.doi.org/10.2307/4011265.

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21

Passarello, Elena. „Of Singing“. Iowa Review 39, Nr. 1 (April 2009): 45–52. http://dx.doi.org/10.17077/0021-065x.6633.

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22

Phillips, Patrick. „The Singing“. Ecotone 10, Nr. 1 (2014): 115. http://dx.doi.org/10.1353/ect.2014.0032.

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23

Hearon, T. „Singing Boy“. Literary Imagination 13, Nr. 1 (05.01.2011): 73–75. http://dx.doi.org/10.1093/litimag/imq057.

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Kalogeris, G. „Singing Contests“. Literary Imagination 16, Nr. 2 (26.06.2014): 215–16. http://dx.doi.org/10.1093/litimag/imu020.

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25

WORK, C. E. „SINGING PROPELLERS“. Journal of the American Society for Naval Engineers 63, Nr. 2 (18.03.2009): 319–31. http://dx.doi.org/10.1111/j.1559-3584.1951.tb02902.x.

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Sandage, Mary J., und Kate Emerich. „Singing Voice“. ASHA Leader 7, Nr. 13 (Juli 2002): 6–15. http://dx.doi.org/10.1044/leader.ftr.07132002.6.

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27

Sundberg, Johan. „Synthesizing singing“. Journal of the Acoustical Society of America 83, S1 (Mai 1988): S30—S31. http://dx.doi.org/10.1121/1.2025301.

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28

Blanchard, Chrys. „Teaching singing“. Practical Pre-School 2001, Nr. 27 (Mai 2001): 3–7. http://dx.doi.org/10.12968/prps.2001.1.27.40859.

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29

Ventzislavov, Rossen. „Singing Nonsense“. New Literary History 45, Nr. 3 (2014): 507–22. http://dx.doi.org/10.1353/nlh.2014.0024.

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30

Baldwin, Marcia. „Healthy Singing“. Seminars in Neurology 9, Nr. 02 (Juni 1989): 117–18. http://dx.doi.org/10.1055/s-2008-1041313.

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31

Cundy, Rhonda. „Singing Pirates“. Voice and Speech Review 3, Nr. 1 (Januar 2003): 98. http://dx.doi.org/10.1080/23268263.2003.10739385.

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32

Doherty, M. J., A. J. Wilensky, M. D. Holmes, D. H. Lewis, J. Rae und G. H. Cohn. „Singing seizures“. Neurology 59, Nr. 9 (12.11.2002): 1435–38. http://dx.doi.org/10.1212/01.wnl.0000031430.40085.93.

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33

Muller, C. „Singing Icebergs“. Science 310, Nr. 5752 (25.11.2005): 1299. http://dx.doi.org/10.1126/science.1117145.

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34

McRae, Sally, und Emma Blake. „Singing workshop“. Women and Birth 32 (September 2019): S36—S37. http://dx.doi.org/10.1016/j.wombi.2019.07.256.

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35

Wang, Jui-Ching. „Singing Polyphony“. Music Educators Journal 101, Nr. 4 (Juni 2015): 85–95. http://dx.doi.org/10.1177/0027432115575754.

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36

Carney, Bernard. „Left Singing“. Labour History, Nr. 79 (2000): 113. http://dx.doi.org/10.2307/27516732.

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37

Fung, Kai-hung. „Singing Rainbows“. RadioGraphics 29, Nr. 7 (November 2009): 2100. http://dx.doi.org/10.1148/radiographics.29.7.0292100.

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38

Kennedy, Lauren Paige. „Singing Out“. Brain & Life 15, Nr. 5 (2019): 28–32. http://dx.doi.org/10.1097/01.nnn.0000602668.00114.a2.

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39

Charles, Daniel. „Singing waves“. Contemporary Music Review 8, Nr. 1 (Januar 1993): 57–69. http://dx.doi.org/10.1080/07494469300640191.

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40

Pagliai, Valentina, und Brooke S. Bocast. „Singing gender“. Pragmatics. Quarterly Publication of the International Pragmatics Association (IPrA) 15, Nr. 4 (01.12.2005): 437–57. http://dx.doi.org/10.1075/prag.15.4.03pag.

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In this article, we explore the presentation and contestation of discourses of womanhood in verbal art performance. In Tuscan-Italian Contrasto verbal duels the artists, both males and females, may impersonate female characters as they exchange insults between each other. In doing so, they deploy multiple discourses of womanhood to demonstrate their wit and verbal artistry. As a consequence, they often subvert and contest “appropriate” female behavior as well as ideas of morality, which might be connected to those behaviors. This highlights the manipulability of discourses of womanhood to obtain particular goals. We analyze Contrasti performances where characters of mother-in-law and daughter-in- law are impersonated. We further argue that the contraposition of different discourses on stage increases the fluidity of gender as a category. In this sense poetic performances are revealed as a loci where perceptions of established gender roles and the connected moral order might be negotiated or destabilized.

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Palmer, Mary. „Singing Together“. Soundings (Reston, VA) 1, Nr. 2 (Januar 1988): 9–15. http://dx.doi.org/10.1177/104837138700100206.

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42

Taylor, Frederick. „Scat Singing“. Soundings (Reston, VA) 6, Nr. 2 (Januar 1993): 16–18. http://dx.doi.org/10.1177/104837139300600205.

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43

Grond, Florian, und Thomas Hermann. „Singing function“. Journal on Multimodal User Interfaces 5, Nr. 3-4 (27.10.2011): 87–95. http://dx.doi.org/10.1007/s12193-011-0068-2.

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44

Banerjee, Arkarup, Steven M. Phelps und Michael A. Long. „Singing mice“. Current Biology 29, Nr. 6 (März 2019): R190—R191. http://dx.doi.org/10.1016/j.cub.2018.11.048.

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45

Hoch, Matthew. „Singing Redefined“. Journal of Singing 80, Nr. 1 (15.08.2023): 43–50. http://dx.doi.org/10.53830/tzen2570.

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Associate editor Matthew Hoch revisits Walter C. Foster’s 1998 book Singing Redefined, reconsidering its arguments within a twenty-first century context. Hoch uses Foster’s compendium of historical writings on various aspects of voice pedagogy as a starting point for examining the challenging task of defining pedagogic terms and concepts. Hoch argues that published definitions are a product of their era and the endeavor of defining pedagogic concepts is a perpetually moving target that always involves the periodic redefining of terminology as new science emerges and society evolves, recontextualizing our knowledge of the singing voice. The author concludes by speculating on several emerging trends that may inform pedagogic discourse and expand our lexicon moving forward.

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46

Knies, Stephan. „SINGING MAMAS“. Opernwelt 64, Nr. 1 (2023): 67. http://dx.doi.org/10.5771/0030-3690-2023-1-067.

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47

Lim, EunJung. „A Study on the Development of a Teaching Model for Singing“. Korean Society of Music Education Technology 32 (16.07.2017): 1–20. http://dx.doi.org/10.30832/jems.2017.32.1.

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The purpose of this study is to develop a teaching model for singing in music class. This study reviewed common characteristics of singing activities and the enhancement of singing abilities first, and then suggested an integrated teaching model for singing activities in classroom. Based on the general teaching model that commonly set up a course in the process of stages such as introduction, development, advancement, and organization, this study formulated a teaching model for singing into ‘detecting song’, ‘singing’, ‘extending singing’, and ‘organizing singing’ as its teaching stages. It also described main activities of each stage in consideration of class comprehension and the convenience of class construction. Lastly, it presented some elements that could affect singing class as ‘class interference factors’, and classified and detailed those factors. The results of this study provided three teaching plans for the model: the basic understanding of singing, the basic activities of singing, and the diversification of singing, all of which embody practical activities in singing class. The validity and effectiveness of the teaching model presented in this study should be verified by applying it to singing class as well as by conducting further researches on various teaching models for singing.

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48

Harto, Syafri. „MODEL PENGUATAN KEARIFAN LOKAL DALAM MENJAGA KEAUTENTIKAN WISATA KULINER LOMANG DI KABUPATEN KUANTAN SINGINGI“. Jurnal Niara 12, Nr. 1 (10.05.2019): 79–85. http://dx.doi.org/10.31849/nia.v12i1.2241.

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The era of autonomy in the typical Kuantan Mudik culinary area does not develop like other regional foods, but the values of local wisdom still exist. For this reason, this research seeks to multiply the model of strengthening local wisdom in maintaining the authenticity of lomang culinary tours in the regency of singing and singing. The results of the study explain the drivers of strengthening local wisdom are the ability to maintain, preserve, and pass on local wisdom. Pewarisan local wisdom value is intended so that the younger generation of Kuantan Singingi Regency can protect itself from the negative effects of modernization due to globalization, but it becomes an idea for expressing and appreciating local wisdom values by empowering the community Kuantan Singingi District Government must include malomang activities as an event on the track runway event by utilizing a bottom-up system for millennials and communities that still maintain the Malomang tradition so that it becomes an attraction, with leverage like trees and crystallizes and fences like cages in lomang activities and marketing in tourist destinations.

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Jacob, Pedro F., und Berthold Hedwig. „Impact of cercal air currents on singing motor pattern generation in the cricket (Gryllus bimaculatus DeGeer)“. Journal of Neurophysiology 114, Nr. 5 (November 2015): 2649–60. http://dx.doi.org/10.1152/jn.00669.2015.

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The cercal system of crickets detects low-frequency air currents produced by approaching predators and self-generated air currents during singing, which may provide sensory feedback to the singing motor network. We analyzed the effect of cercal stimulation on singing motor pattern generation to reveal the response of a singing interneuron to predator-like signals and to elucidate the possible role of self-generated air currents during singing. In fictive singing males, we recorded an interneuron of the singing network while applying air currents to the cerci; additionally, we analyzed the effect of abolishing the cercal system in freely singing males. In fictively singing crickets, the effect of short air stimuli is either to terminate prematurely or to lengthen the interchirp interval, depending on their phase in the chirp cycle. Within our stimulation paradigm, air stimuli of different velocities and durations always elicited an inhibitory postsynaptic potential in the singing interneuron. Current injection in the singing interneuron elicited singing motor activity, even during the air current-evoked inhibitory input from the cercal pathway. The disruptive effects of air stimuli on the fictive singing pattern and the inhibitory response of the singing interneuron point toward the cercal system being involved in initiating avoidance responses in singing crickets, according to the established role of cerci in a predator escape pathway. After abolishing the activity of the cercal system, the timing of natural singing activity was not significantly altered. Our study provides no evidence that self-generated cercal sensory activity has a feedback function for singing motor pattern generation.

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Forbes, Melissa, Amanda E. Krause und Xanthe Lowe-Brown. „Descriptions and Evaluations of "Good Singing" in the Age of 'The Voice'“. Australian Voice 22 (2021): 16–28. http://dx.doi.org/10.56307/vrxq8982.

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What constitutes “good singing” can be hotly contested amongst singing voice pedagogues, yet little is known about what the general public considers to be “good singing”. Within a program of research on musical identity and singing self-concept, this mixed-methods pilot study considered how members of the public (N = 52) described and evaluated stylistically different versions of a sung melody to test a hypothesis that reality TV singing may be deemed as “good singing”. Participants were exposed to three versions of “Happy Birthday”: 1) amateurs singing “as they would normally sing”; 2) professionals performing a “plain” version; 3) the same professionals singing an embellished version in the style of The Voice reality TV show. Results indicate that both professional versions were considered “better singing” than the amateur singing. While respondents focused on the technical deficiencies for amateurs, descriptions of the professionals concerned style. Stated exemplars of “good singing” were split between the two professional versions—based on sophistication and creativity (“professional: embellished”) or vocal quality (“professional: plain”). While respondents’ preferred version largely matched their chosen exemplar of “good singing”, participants were more likely to sing along with the “amateur” version. Implications for singing voice pedagogy and engagement in singing activities for wellbeing are considered.

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