Relevant bibliographies by topics / Bel canto singing

Academic literature on the topic 'Bel canto singing'

Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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Journal articles on the topic "Bel canto singing"

Ke, Feng. "Research on Machine Semantic Recognition in Different Bel Canto Music Backgrounds." Advances in Multimedia 2022 (July 12, 2022): 1–10. http://dx.doi.org/10.1155/2022/9509672.

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In order to improve the intelligent analysis effect of Bel Canto music and improve the singing skills of Bel Canto, this paper uses the machine semantic recognition algorithm to identify the characteristics of Bel Canto music, builds a Bel Canto music feature recognition model, and analyzes the advantages and disadvantages of each Bel Canto semantic feature clustering method and the applicable data set types. Finally, this paper applies the Bel Canto semantic feature clustering method to multicomponent signal parameter estimation, uses the clustering method to cluster the time-frequency analysis of nonstationary signals, obtains the time-frequency distribution of each signal component, and then estimates the parameters of each single-component signal. The experimental results show that the Bel Canto music feature recognition method based on machine semantics proposed in this paper has a good effect.

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Gladfelder, Hal. "The Decay of Singing: Remembering the Castrato." Modern Language Quarterly 83, no. 3 (September 1, 2022): 275–302. http://dx.doi.org/10.1215/00267929-9790990.

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Abstract The advent of a new political regime in Italy in the 1790s led to decrees banning castrati from the stage and the closure of the singing academies where they taught. But seventy years later the composer Gioacchino Rossini looked back to the castrati as the last adepts of the art of bel canto: “As to the castrati, they vanished, and the usage disappeared in the creation of new customs. That was the cause of the irretrievable decay of the art of singing.” This essay focuses on the eighteenth-century castrato Gasparo Pacchierotti—friend of Charles, Frances, and Susan Burney, idol of William Beckford—and on the efforts of the novelist and critic Stendhal to “remember” Pacchierotti’s lost voice. Stendhal never heard Pacchierotti in his prime, but in his 1824 Vie de Rossini he declared that the art of bel canto had reached its apogee with Pacchierotti in 1778: five years before the writer’s own birth. Stendhal sought to demonstrate that the lost voice could be remembered by way of both historical evidence and the textual and viva voce “recordings” of earlier listeners: Beckford, the Burneys, and the singer Gabriel Piozzi. In Stendhal’s erotics or mnemonics of musical sensation, such textual and performative recordings allow us to remember the sensations elicited by an absent voice as vividly as the phonographic or digital recordings on which later listeners would rely.

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JIANG, Ming, and Chao-Jung WU. "Investigation and Reflections on Gender Differences in Vocal Music Education." Revista de Cercetare si Interventie Sociala 79 (December 15, 2022): 59–69. http://dx.doi.org/10.33788/rcis.79.4.

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The purpose of this study is to explore the teaching methods and related theoretical studies of gender differences in bel canto. Focusing on four aspects: breathing, vocalization, resonance, and emotional expression, this study implements vocal music through gender-differentiated teaching methods and strategies. By carrying out a case study, the author summarizes the application and effectiveness of these teaching methods in the teaching of bel canto, and draws the following conclusions based on the research results: first, teaching methods tailored for gender differences enable students to make rapid progress in singing, breathing, vocalization, resonance, and emotional expression; their goals of learning vocal music are clearer. Second, the gender- dependent teaching methods promote the amelioration of vocal music teaching, break through the difficulties in practical teaching, and improve the teaching level and ability of instructors. Finally, this article puts forward teaching and research suggestions for vocal teachers and vocal education.

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Wang, Jingtao. "Exploration on the Artistic Value and Realization Path of the Nationalization of Bel Canto Singing." Advances in Higher Education 3, no. 3 (August 30, 2019): 112. http://dx.doi.org/10.18686/ahe.v3i3.1479.

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<p>With the progress of the society, the international music culture is widely spread, and people's attention to the multicultural gradually increased, so that people love the music with the characteristics of the times, and their demand for different style of music is higher and higher. Since bel canto music was introduced into the Chinese music industry, it has been fully integrated into the folk music. In the process of integration, it just applies the correct scientific pronunciation to the traditional music sound system, making the folk music gradually mature. In particular, the mixed resonance singing method is applied to traditional music, and the translucency of sound and the extensibility of sound range are used to make the sound louder and more transparent, thus ensuring the richness of timbre. This paper mainly analyzes and explores the artistic value and realization path of bel canto's nationalization.</p>

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Yoo, Hyesoo. "Multicultural Choral Music Pedagogy Based on the Facets Model." Music Educators Journal 104, no. 1 (September 2017): 34–39. http://dx.doi.org/10.1177/0027432117708602.

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Multicultural choral music has distinct characteristics in that indigenous folk elements are frequently incorporated into a Western European tonal system. Because of this, multicultural choral music is often taught using Western styles (e.g., bel canto) rather than through traditional singing techniques from their cultures of origin. One of the most important purposes of teaching multicultural music is to increase understanding of and acceptance toward different cultures and enrich musical experiences. This article details eight instructional strategies to help students learn multicultural choral music from alternative perspectives that enrich their musical skills, cultural understandings, and performances of multicultural music.

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McHenry, Monica A., Joseph Evans, and Eric Powitzky. "Effects of Bel Canto Training on Acoustic and Aerodynamic Characteristics of the Singing Voice." Journal of Voice 30, no. 2 (March 2016): 198–204. http://dx.doi.org/10.1016/j.jvoice.2014.11.009.

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Stark, James A. "On the Role of Vocal Idioms in Singing." Canadian University Music Review, no. 15 (March 1, 2013): 70–90. http://dx.doi.org/10.7202/1014393ar.

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The identification of particular vocal techniques in singing, which combine to form distinctive vocal idioms, is important for an understanding of both "classical" and "vernacular" musical styles. The modern critical literature on song is based largely on the limited concept of a "word-tone relationship," with musico-poetic synthesis as its ideal. Performance practices are as important to song criticism as is the study of written scores. The elements of voice quality and vocal articulation, with specific reference to the physiology and acoustics of the human voice, provide the analytical tools for defining vocal idioms and their role in the value and success of a song. The description of such idioms requires a rapprochement between vocal history, pedagogy, and science. Using the bel canto paradigm as a reference point, this article discusses a variety of vocal idioms. Gluck's aria, "Che farò senza Euridice" is used to illustrate how an understanding of vocal idioms can alter our judgment of a piece which has sometimes been condemned for its poor word-tone relationship.

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Li, Zhen Hua. "Historical Considerations of Chinese-Korean Vocal Arts: Focusing on Characteristics of Bel Canto Vocal Singing." Academic Association of Global Cultural Contents 35 (August 30, 2018): 127–49. http://dx.doi.org/10.32611/jgcc.2018.8.35.127.

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Mayr, Alexander. "Investigating the Voce Faringea : Physiological and Acoustic Characteristics of the Bel Canto Tenor's Forgotten Singing Practice." Journal of Voice 31, no. 2 (March 2017): 255.e13–255.e23. http://dx.doi.org/10.1016/j.jvoice.2016.06.010.

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BAJEA (STANCIU), Mihaela-Elena. "Vocal Ornamentation in the 18th century - Tosi and Mancini, first Theorists of Bel Canto." Bulletin of the Transilvania University of Braşov. Series VIII:Performing Arts 14(63), Special Issue (January 27, 2022): 21–32. http://dx.doi.org/10.31926/but.pa.2021.14.63.3.2.

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In a time of change, the two great vocal singing theorists, Tosi and Mancini, wrote their theoretical papers with the stated aim of clarifying for both students and their tutors what they considered to be good landmarks in that era. Too much freedom in ornamentation, through an abusive and discretionary use, highlighted more the virtuosity of the singers than the melodic line in the context of words and music. Thus, forced by circumstances, the two authors tried to develop, in the 18th century, a methodology capable of balancing freedom of expression with theoretical rigor. Their effort was directed towards collecting and organizing the data available at the time about the mechanics and theory of ornamentation applicable to the principles and rules of harmony, while supporting freedom of expression and variety of inventiveness and having as sole purpose the beauty of sounds harmoniously intertwined with expression. They evaluated and criticized their contemporaries, highlighting both the defects and abuses of vocal performances, considering as the only point of reference the balance of expression subordinated to the fundamental elements of vocal precepts considered at that time true axioms. They generously offered their knowledge and science with the ultimate goal of creating a vocal show based on balance, beauty and spontaneity.

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Dissertations / Theses on the topic "Bel canto singing"

Ruškienė, Aistė. "Bel canto dainavimo mokymo Lietuvoje tradicijos." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2007. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2007~D_20070816_171602-75730.

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Bel canto dainavimo mokymo Lietuvoje tradicijos Garsiausia pasaulyje klasikinio dainavimo mokykla – tai bel canto dainavimo mokykla. Lietuvos vokalo mokykla remiasi pagrindinai bel canto mokymo metodika,profesionalų ruošimo sistema ir pagrindais. Kadangi ji gyvuoja ne taip seniai, lietuviškos bel canto mokyklos gyvavimo tyrinėjimas edukologiniu aspektu yra svarbi pedagoginė problema, kurios gvildenimas padėtų geriau suprasti šios mokyklos klestėjimo teorinius ir praktinius ypatumus. Šiame darbe apžvelgti bendri lietuvių ir italų dainavimo mokyklų pedagogikos principai, svarbiausi jų panagrinėti detaliau. pagrindiniaidarbo aspektai:  išnagrinėta bel canto dainavimo mokyklos istorija;  bel canto dainavimo koncepcija, principai ir metodai;  istoriškai apžvelgtos bel canto dainavimo pedagogikos mokyklos;  lietuvių dainavimo mokyklos pradžia, itališkos ištakos ir raida;  atskleistas tiesioginis lietuvių dainavimo mokyklos ryšys su bel canto mokykla;  atskleisti bel canto dainavimo mokymo Lietuvoje raidos ypatumai;  apžvelgti lietuvių dainavimo mokyklos vokalo mokymo metodai ir pedagoginiai principai. Apibendrinančios studijos apie bel canto dainavimą lietuvių kalba nėra. Todėl šiuo darbu siekiama užpildyti esamą spragą. Tai pirmasis darbas, apibendrinantis Lietuvos bel canto dainavimo mokyklos principus. Jis galėtų tapti vokalo pedagogikos priemone studentams bei dėstytojams.
Bel canto is the most world known school of classical singing. Lithuanian vocal school is mostly based on Bel canto professional system and teaching methodology. As this school has been existing not for a long time, the educological research of Lithuanian Bel canto school is an important pedagogical problem, the analysis of which would contribute to better understanding the practical and theoretical particularities of the spread of this school. This thesis analyses the general pedagogical principles of Lithuanian and Italian singing schools. The major analysis aspects are as follows: • History of the Bel canto singing school; • Bel canto singing conception, principles and methods; • History of the Bel canto singing pedagogical schools; • The origin and development of the Lithuanian singing school; • The relation of the Lithuanian singing school to Bel canto school; • The particularities of Bel canto school development in Lithuania; • The pedagogical principles and vocal teaching methods in the Lithuanian singing school. There is no precise analysis in Lithuanian about Bel canto singing. Thus, this study is expected to fulfill the gap. It is the first work which summarizes the principles of the Bel canto singing school. It could serve as the vocal pedagogical-methodological means to both students and teachers.

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Harper, Portia. "Comparative Study of the Bel Canto Teaching Styles and their Effects on Vocal Agility." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278170/.

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This thesis examines the historical significance of the vocal methods employed from the middle of the seventeenth century to the beginning of the nineteenth century in what became known as the bel canto era. It provides further exploration into the pedagogical procedures of the bel canto technique through a study of the premier instructors and singers from this period. The resurgence of interest in this tradition is addressed along with its impact on current vocal pedagogy. The vital role that vocal agility played as one of its most distinguishing traits is the primary factor under investigation. A discussion of the bel canto teaching styles in relation to their approach to agility is a major point of inquiry. By maintaining a link between present artists and pedagogues and the old Italian school, it helps the singer understand the historical implications of vocal agility as an integral part of healthy vocal development.

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Glover, Sandra Lee. "Cornelius L. Reid : interpreting the vocal registration tradition of bel canto /." Thesis, Connect to this title online; UW restricted, 2002. http://hdl.handle.net/1773/11384.

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Pérez, Arquillo Julia. "Experiencing Bel Canto : Getting deep into the style." Thesis, Stockholms konstnärliga högskola, Institutionen för opera, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-922.

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One of the styles that has influenced opera the most through history has been Bel canto. This work is a recompilation of personal research about its history, characteristics and one of its major exponents, G. Rossini. At the same time, it includes a personal approach on the topic of how to create and perform a character and some exercises aimed to improve the singing in the mentioned style.

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Brown, Shaun (Shaun Joseph). "Ensemble Singing in the Bel Canto Salon Repertory: A Pedagogical Reconsideration." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609069/.

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Vocal duets have had a long history in the Western classical music tradition. Their use as a teaching resource can be traced back to the Renaissance, where duets were used for the development of singing, performance, and musicianship. In the late 19th and all of the 20th centuries, this pathway of vocal pedagogy has markedly declined. This study proposes a reintroduction of this methodology of teaching, asserting that it provides the collegiate vocal student with maximum opportunity for growth and development in terms of technique, musicianship, ensemble skills, and performance development. Four vocal duets ("La pesca," "Il brindisi," "Il gallop," and "La caccia") of Saverio Mercadante (1795-1870) serve as the point of discussion. These songs from Les soirées italiennes (C.1836), which are representative of the salon culture of the 19th century, are given detailed attention through a discussion of their pedagogical value. Since they are long out of print, a new performance edition is presented.

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Wiger, Pilotti Katarina. "Vägen till Bel Canto : Om min omskolning till Chiaroscuro." Thesis, Örebro University, School of Music, Theatre and Art, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-9326.

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I am a practising classical soprano. After more than 20 years of professional singing, I re-trained my voice according to principles of the old Italian school of singing. In this essay, I examine the origins and priciples of bel canto, with special focus on appoggio and chiaroscuro, two key ingredients in the bel cantao tradition. I explore the relationship between science and the craft of singing, and what modern voice science has to say about the efficiency and health aspects of this technique, I also describe the profound effect it has had on me as an artist.

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Dyo, Vladimir. "The Application of Bel Canto Principles to Violin Performance." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/193273.

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Music Performance
D.M.A.
Bel canto is "the best in singing of all time." Authors on vocal literature (Miller, Celletti, Duey, Reid, Dmitriev, Stark, Whitlock among others) agree that bel canto singing requires complete mastery of vocal technique. The "best in singing" means that the singer should possess immaculate cantilena, smooth legato, a beautiful singing tone that exhibits a full palette of colors, and evenness of tone throughout the entire vocal range. Furthermore, the singer should be able to "carry the tone" expressively from one note to another, maintain long lasting breath, flexibility, and brilliant virtuosity. Without these elements, the singer's mastery is not complete. In addition, proper mastery of bel canto technique prolongs the longevity of the voice. For centuries, --emulating beautiful singing has been a model for violin performers. Since the late Renaissance and early Baroque periods, a trend toward homophonic style, melodious songs, and arias had a tremendous influence on pre-violin and violin performers, and even on luthiers. The earliest known four-stringed violins created by Andrea Amati, and Gasparo da Saló in the sixteenth century already possessed a tone that resembled the qualities of a human voice. Today, it has become more difficult to differentiate the tone of one violinist from another. The individual quality of the singing tone, which was the hallmark in violin playing of the golden age of Ysaye, Kreisler, Heifetz, Menuhin, Oistrakh etc. has deteriorated. The purpose of this monograph is to analyze the fundamental principles of bel canto and to apply these principles to violin performance. Teachers, students, and performers will find practical ideas to improve or solve various aspects of violin playing. I will focus primarily on tone production and tone formation (breathing, resonance, vibrato etc.), tonal shading (messa di voce), and range (blending positions). Through understanding the bel canto principles of singing and applying those principles to violin performance, one would have more means to give the tone its distinctive qualities.
Temple University--Theses

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Johnson, Brock. "The Use of Classic Musical Theatre Repertoire for Training Bel Canto Techniques in the Undergraduate Baritone Voice." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984217/.

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For applied teachers of the bel canto method of singing, classical musical theatre repertoire provides an abundant resource of material for teaching the undergraduate baritone voice. Select classic musical theatre repertoire, fitting within the parameters of suitable range, tessitura, duration, and thematic material for an undergraduate baritone, will be used to demonstrate the application of bel canto techniques such as: glottal onsets, the connection between the speaking voice and singing voice, suitable vowels in building the upper range, and teaching sostenuto and legato. This dissertation serves as a guide for teaching sound vocalism through classic musical theatre repertoire.

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Powell, Alyssa Rose. "Making the Clarinet Sing: Enhancing Clarinet Tone, Breathing, and Phrase Nuance through Voice Pedagogy." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1589808462811083.

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Canário, João Pedro Gonçalves. "O impacto da atividade do canto em grupo, como estratégia de recuperação, no bem estar subjetivo dos indivíduos." Master's thesis, ISPA - Instituto Universitário, 2013. http://hdl.handle.net/10400.12/2812.

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Dissertação de Mestrado em Psicologia Clínica apresentada ao ISPA - Instituto Universitário
Este estudo é de caráter pré-experimental com medidas repetidas e permite analisar o impacto da atividade do canto em grupo/ coro, enquanto estratégia de recuperação, no Bem-Estar subjetivo das pessoas. Foram utilizadas cinco escalas, em que a “Satisfação com a vida”, “SPANE” e “Flourishing” permitiram analisar o Bem-estar subjetivo e a “Need for Recovery Scale” e “Auto-Percepção de Desempenho individual” permitiram analisar variáveis ligadas à fadiga e atividade laboral. Recolheu-se uma amostra de 69 indivíduos de quatro grupos de canto/ coros independentes, em que um dos grupos tinha influência religiosa/ espiritual. Os resultados revelaram uma estabilidade temporal (3 semanas) nas cinco escalas, tendo a correlação variado entre 0,60 e 0,81. Verificou-se também um decréscimo estatisticamente significativo do nível de afeto positivo e um incremento estatisticamente significativo do nível de afeto positivo, após a participação na atividade de canto em grupo/ coro. A influência religiosa/ espiritual tende a constituir um papel moderador das respostas afetivas após a participação na atividade, embora não seja estatisticamente significativo. Verificou-se, na amostra total, que um nível alto de afeto negativo (SPANE versão estado) e níveis baixos na escala “Satisfação com a vida” podem ser preditores de uma elevada necessidade de recuperação. Para os indivíduos que trabalham, verificou-se que níveis elevados na escala “Flourishing” constituem um preditor para níveis elevados na escala “Auto-Percepção de Desempenho individual”.
ABSTRACT: This is a pre - trial basis study with repeated measures that allows to analyze the impact of the activity of the group singing / choir, as a recovery strategy, the subjective welfare of the people . Five scales were used, as " Life satisfaction " , " Spane " and " Flourishing " helped analyze the Subjective well -being and "Need for Recovery Scale" and " Self- Perception of Individual Performance " helped analyze variables related to fatigue and labor activity . A sample was collected from 69 subjects in groups of four singing groups/ independent choruses, wherein one of the groups had religious/spiritual effect. The results revealed a temporal stability (3 weeks) in five scales, and the correlation varied between 0.60 and 0.81. There was also a significant statistically decrease in the level of positive affect, and a statistically significant increase in the level of positive affect after participation in the activity of group singing / choir. The religious/ spiritual influence tends to be a moderator of affective responses after participation in the activity role , although not statistically significant. It was found in the total sample, a high level of negative affect ( Spane state version ) and lower levels in the scale " Satisfaction with life " can be predictors of a high need for recovery. For individuals who work, it was found that high levels on the scale " Flourishing " constitute a predictor for elevated levels in the " Self- Perception of Individual Performance " scale.

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Books on the topic "Bel canto singing"

Damoreau, Laure-Cinthie. Classic bel canto technique. Mineola, NY: Dover, 1997.

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Celletti, Rodolfo. Histoire du bel canto. [Paris]: Fayard, 1987.

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Bel canto: A history of vocal pedagogy. Toronto: University of Toronto Press, 1999.

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Iskusstvo bel canto v italʹi︠a︡nskoĭ opere XVII-XVIII vekov: Monografii︠a︡. Kharʹkov: Kharʹkovskai︠a︡ gos. akademii︠a︡ kulʹtury, 2000.

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1908-, Fuller Frederick, ed. A history of bel canto. Oxford [England]: Clarendon Press, 1996.

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A history of bel canto. Oxford [England]: Clarendon Press, 1991.

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Bel canto: A performer's guide. New York: Oxford University Press, 2012.

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Bonotto, Alcide. Le due tecniche di canto: Manuale per cantanti lirici : il fenomeno Gigli. Paese (Treviso): Pagus Edizioni, 1991.

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Klausmeier, Friedrich. Belcanto and Pop: Zwei Arten des Singens. Augsburg: Wissner, 1999.

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Lucie, Manén, ed. Belcanto: The teaching of the classical Italian song-schools, its decline and restoration. Oxford: Oxford University Press, 1987.

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Book chapters on the topic "Bel canto singing"

Elliott, Martha. "Style and Ornamentation in Classical and Bel Canto Arias." In Teaching Singing in the 21st Century, 237–62. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8851-9_15.

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"Chapter 4. Italian Bel Canto." In Singing in Style, 126–59. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300138085-006.

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Miller, Richard. "The Two Poles of Bel Canto." In On the Art of Singing, 102–3. Oxford University Press, 1996. http://dx.doi.org/10.1093/acprof:osobl/9780195098259.003.0028.

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Parr, Sean M. "Introduction." In Vocal Virtuosity, 1–27. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197542644.003.0001.

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The Introduction sets forth a brief history of coloratura singing and identifies historical questions, issues, and contexts in scholarly literature. From opera’s origins, composers employed melismatic text treatment to highlight a singer’s agility, range, and the character’s emotional intensity, as well as for frequent moments of word painting. This tradition of solo singing was still prominent during the “bel canto” period of the early nineteenth century when composers employed coloratura vocal writing as part of normal melodic text treatment. By the end of the nineteenth century, however, coloratura was a rare feature in operatic vocal writing. Coloratura also shifted to the domain of female singers, and often particular sopranos. In providing a historical context for the study of singing, gender, and nineteenth-century opera, the author proposes that the increasing specificity of coloratura led to its eventual identity as a voice-type, becoming an indicator of the modern.

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Rosenblum, Sandra P. "Chopin Among the Pianists in Paris." In Chopin and His World. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691177755.003.0012.

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This chapter demonstrates how, while in the French capital, Chopin immersed himself in the world of opera and developed friendships with numerous opera stars. The French grand opéra influenced his harmonic and dramatic language, but it was the Italianate bel canto style that nourished his predilection for the singing tone. Yet, however French his disposition, the seeds for all these elements of Chopin's musical aesthetic and pianism were sown in Warsaw, long before he ever sought the wider world. In his early years, Chopin would also have had the opportunity to learn from performances by other first-rate artists, a host of opera stars, and several pianists in Warsaw whose performance styles he is known to have admired.

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Wink, Paul. "I Gave You Everything." In Prima Donna, 159–94. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190857738.003.0007.

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This chapter, “I Gave You Everything,” analyzes Callas’s magic as a stage performer and the revolutionary nature of her short career that continues to resonate today. Her dark and penetrating voice was very different from the light voices of the coloratura sopranos who dominated bel canto roles in the first half of the twentieth century. The power of Callas’s artistry was the product not only of her voice and her musicianship, but also of her acting ability, her enormous capacity to render emotional truth and merge with her audiences. Her vision of opera as combining singing and acting in the joint pursuit of emotional truth meant an emphasis on the cohesion and integrity of the entire performance. Callas’s perfectionism drove her dynamic success but it also prevented her from dealing effectively with escalating vocal difficulties resulting from a precipitous loss of weight and undertaking overly taxing roles early in her career.

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Conference papers on the topic "Bel canto singing"

Van, Kesin. "Bel Canto's Influence on the Development of Modern Chinese Opera Singing." In All-Russian Scientific Conference with International Participation. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-98545.

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Since the emergence of bel canto in China, traditional Chinese singing has been greatly influenced. Modern Chinese opera not only inherits the essence of Chinese national music, but also includes the unique vocal abilities of bel canto. It is thanks to Chinese national music and bel canto, which give Chinese opera singing in modern opera a whole new artistic experience that makes contemporary Chinese opera singing aimed at diversified development. The article analyzes the direction of development of bel canto in the field of Chinese art and the influence of bel canto on the direction of development of Chinese opera singing. Clarify the direction of development of the Chinese operatic art.

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Zhang, Hui. "Study on Bel Canto in Singing Skill Training." In 2016 International Conference on Education, Sports, Arts and Management Engineering. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icesame-16.2016.62.

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"Integrating the Two Singing Methods of Folk Style Singing and Bel Canto in Teaching." In 2018 International Conference on Education, Psychology, and Management Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icepms.2018.112.

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"Integrating and Mastering the Folk Style Singing and Bel Canto in Teaching." In 2018 2nd International Conference on Social Sciences, Arts and Humanities. Francis Academic Press, 2018. http://dx.doi.org/10.25236/ssah.2018.104.

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