Academic literature on the topic 'His Singing Seven'

<p>Seven bodies of Nezamy is rich trove from symbols, attitudes and different themes that with studying of them, in addition to understanding of global character of Nezamy and his deep thoughts, can went to the beliefs and religious infrastructures of poet. Amir Khusrau Dehlavi as the largest imitator of Nezamy had a particular attitude towards all aspects of seven bodies singing eight heaven. Both poets in singing of common concepts, have placed poetry as a means to express their high ideas. This idea expresses social situation of the age of every poet and on the other hand, it expresses the governing religious, doctrinal, moral principles on that time. In the present article it has been tried that most religious themes are extracted that they are most imitated and adapted themes in terms of terms, combinatory and the rhymes in the two system; they amount the frequency of them is been determined in each system. Also, the most obvious evidences of example are mentioned that it indicates imitation and similar writing. It is obvious in this study that innovative aspects and innovations of Dehlavi in eight heaven are also taken into consideration.</p>

Alma redemptoris mater is one of the four ancient antiphons or anthems in honour of the Blessed Virgin Mary. This anthem may recall Chaucer’s Prioress’s Tale, and the image of a choirboy, seven years of age, who, having learnt his Alma redemptoris, sang daily the Virgin’s praises even beyond death. Primer in hand he learnt his Alma by heart, only to be murdered in a Jewish ghetto for singing the anthem that he took such pains to perfect. With the song on his lips his throat was cut; but Mary intervened, placed a precious pearl on his tongue, saying, My litel child, nowe wol I fecche thee,Whan that the greyn is fro thy tonge ytake.Be not agast; I wol the nat forsake.

The voices of 42 students studying classical opera singing at the Estonian Academy of Music were investigated to find any objectively definable qualities possibly correlating with the length of training. Each student's singing of a four-bar seven-word initial phrase from a well-known Estonian classical solo was recorded. The recordings were digitalized and subjected to acoustic analysis yielding the long-term average spectrum (LTAS) for each voice studied. It turned out that the longer a singing student had been trained professionally, the higher was the level of the so-called singer's formant in her/his LTAS. Subsequently the voice quality in each recording was evaluated by four experts using a five-point scale, five points marking the best quality and one point the poorest. It turned out that the average ratings did not show any positive correlation with the length of training, rather, a slightly negative trend (notstatistically significant) could be observed. The results seem to support the critical remarksmade bysome Estonian specialists about domestic teaching of vocal music being perhaps inadequate in some respects (Pappel, 1990). The teaching process seems to be focused on the development of those qualities that enable the singer to be audible in large halls and with a symphony orchestra, while the timbral qualities recede into the background.

This study was designed to investigate the effects of vocal f o on vowel spectral noise level (SNL) and perceived vowel roughness for subjects in high- and low-pitch voice categories. The subjects were 40 adult singers (10 each sopranos, altos, tenors, and basses). Each produced the vowel /a/ in isolation at a comfortable speaking pitch, and at each of seven assigned pitches spaced at whole-tone intervals over a musical octave within his or her singing pitch range. The eight /a/ productions were repeated by each subject on a second test day. The SNL differences between repeated test samples (different days) were not statistically significant for any subject group. For the vowel samples produced at a comfortable pitch, a relatively large SNL was associated with samples phonated by the subjects of each sex who manifested the relatively low singing pitch range. Regarding the vowel samples produced at the assigned-pitch levels, it was found that both vowel SNL and perceived vowel roughness decreased as test-pitch level was raised over a range of one octave. The relationship between vocal pitch and either vowel roughness or SNL approached linearity for each of the four subject groups.

Background. In recent years, there has been an increasing interest in the performing style issues in modern musicology. However, creative work of each musician provides new and new grounds for further reflection, in particular, the creativity of the outstanding contemporary singer Jonas Kaufmann. He is now at the height of his career and his works include opera roles and chamber programs based on the compositions by R. Wagner, J. Verdi, J. Massenet, J. Puccini, R. Strauss, F. Schubert, J. Bizet, and J. Paisiello. The urgency of this study exists owing to the lack of a scientific description of the creative work of J. Kaufmann. The objective of this study is to determine the main features of Kaufmann’s singing style from the point of view of the phenomenological approach. Methods. The complex research methodology is based on the theoretical substantiation of the analysis of a performer style through the positions of the phenomenology of creativity (research by E. Husserl, A. Losev, M. Arkadyev, G. Tsypin). The application of a systematic approach led also to the involvement of the theory of the performing style (research by V. Medushevsky, V. Moskalenko, and Yu. Nikolaievska). Results. The results of the research support the idea that J. Kaufmann’s singing style is a system of interrelated parameters. There are three components of the singing style. The first is related to the general phenomenon of style, the second – to the process of performance and the third – to the specifics of vocal performance. Thus, the musical style (component 1) is an expression of the peculiarities of musical thinking, and musical compositions are the product of dialogue and communication between the performer and the composer (according to V. Medushevsky). In this sense, the status of the performer, who, in fact, is the creator of the interpretation, is strengthened. For the theory of the performing style (component 2) the definition of V. Kholopova is relevant, that style is a «category-introvert» and the concept of «style of creative personality» (S.Shyp), «style of musical creativity» (V. Moskalenko), «type of creative personality» (E. Liberman),»archetype of a musician» (O. Katrych), which focus on individual characteristics, but in the perspective of the formation of universal features. The thinking of the performer-vocalist (component 3) is focused on the vocal-acting embodiment and reincarnation with the help of the voice as an instrument of what is laid down by the composer in the text of the composition, based on his own creative thinking and personality type. Thus, the definition is proposed: The performing vocal (singing) style is the integrity of the highest order, which manifests itself as a type of music-making, based on the characteristics of the timbre colouring of the sound and formed vocal techniques (orientation on language phonetics, rigor or improvisational freedom, expression, etc.). The noted theoretical provisions allow revealing more fully the specifics of J. Kaufmann’s performing style. In addition, basing on journalistic research, interviews and biographical materials, the periods of J. Kaufmann’s creative work has been proposed. Based on the guidelines of the phenomenology of creativity (G. Tsypin) and various interpretative versions of J. Kaufmann, the following components of his singing style have been formulated. 1. Intellectualism, conceptuality of the idea and «cyclicality» of the embodiment – the parameter that is manifested in the singer’s interpretation of the image of Faust in different interpretations (1999 – opera by F. Busoni, 2002, 2005, 2011, 2012, 2015 – dramatic legend by H. Berlioz and opera by S. Gounod, 2011 – symphony by F. Liszt). Moreover, the basis of the singer’s interpretations in the compositions by Ch. Gounod, F. Busoni, H. Berlioz is the German tradition of interpreting the image of Faust and, in particular, Goethe’s poem), which forms the integrity of the singer’s interpretative concept. It has been pointed out that J. Kaufmann always chooses complex programs (chamber cycles by R. Wagner, R. Strauss, G. Mahler) for the formation of liberabends, and the programs are dominated by song cycles «Five Songs on Matilda Wesendonk’s Poems» by R. Wagner, «Three Sonnets of Petrarch» by F. Liszt, «Seven Sonnets of Michelangelo» by B. Britten, «Winter Road» by F. Schubert, «Songs about the Dead Children» by G. Mahler), or evenings are even dedicated to the creative work of one composer (R. Wagner, R. Strauss, G. Mahler), which is reinterpreted by the singer and presented in a new emotional and intellectual key. 2. Commitment to director’s theatre. J. Kaufmann shares the views on the dominance of director’s theatre in the modern world, which he repeatedly noted in the interviews. And although, in particular, the interpretation of Faust as a character of the concepts of different directors is centred by the artist”s personal understanding of the depths of this image, still in different performances one can see its different shades (which depend on the director’s interpretations). 3. Composite system of vocal expression means that allow the singer to model different facets of images. It is noted that J. Kaufmann’s interpretations are characterized by: economy of performing means, commitment of the singer to the cantilena, the role of the rhythmic component in the vocal score, the ability to adjust his voice in different vocal ensembles, brilliant piano and mezzo voce, brightness of forte, filigree of diminuendo and more. J. Kaufmann treats the text (score) with respect, always knows the libretto, he never allows himself to exaggerate in terms of agogics, dynamics, etc.). In Kaufmann’s performance, masculinity always prevails. Conclusions. The essence of the phenomenon of J. Kaufmann’s work is the desire not to stand still, to move forward, to open new pages of music or to rethink already known ones, i. e. the tendency to constant self-development, in terms of phenomenology This applies to the interpretations of the works by F. Schubert, G. Mahler, R. Strauss, the mentioned interpretation of the image of Faust in the works of various composers, which demonstrates his constant rethinking. J. Kaufmann’s chamber performing is of great interest for the study of his style. The complexity and diversity of images, texts of works, the unity of style, the ability to distribute the power of the voice, to subordinate its capabilities to the artistic idea – these are the features that characterize a true master. In addition, in his control is to almost the entire tenor repertoire – opera, concert, and chamber. Overall, we regard him a singer of universal type.

One bright winter afternoon in 1992, in the mountains of Yunnan Province, China, Li Yong told me a story. Li Yong and I were crowded into a courtyard in his largely Yi (or Lòlop'ò) village, at a mortuary ritual for one of his affines. In the courtyard's center, where the corpse had lain in its coffin seven days before, a crude trough had been scratched into the earth, with a shallow hole at the end where the corpse's mouth had been. The dead woman's daughter, her husband's sisters and their daughters, and some of their female friends sat on benches on either side, singing formal poetic laments about labor and pain. To accompany her tears, the daughter ladled water from a bucket into the hole in front of her. The water overflowed into the trough and gradually turned the lower surface of the courtyard to mud. Women from the dead woman's son's family moved about the courtyard pouring alcohol for the hundreds of guests, who drank while squatting, sitting or standing, their feet in the mud.

Two musical trends of the 1930s—the development of a practice for scoring sound films, and the increasing concertization of the spiritual in both solo and choral form—help shape the soundscape of films based in the South and/or on Civil War themes in early sound-era Hollywood. The tremendous success of the Broadway musical Show Boat (1927), which was made into films twice within seven years (1929, 1936), provided a model of chorus and solo singing, and films like the 1929 Mary Pickford vehicle Coquette and the 1930 musical Dixiana blend this theatrical practice with a nuanced syntax that logically carries the voices from outdoors to indoors to the interior life of a character, usually a white woman. Director D. W. Griffith expands this use of diegetic singing in ways that will later be the province of nondiegetic underscore in his first sound film, Abraham Lincoln (1930). Shirley Temple's Civil War–set films (The Little Colonel and The Littlest Rebel [both 1935] and Dimples [1936]) strongly replicate the use of the voices of enslaved characters—most of whom are onscreen only to provide justification for the source of the music—to mourn for white women. Jezebel, the 1938 antebellum melodrama, expands musicodramatic syntax that had been developed in single scenes or sequences over the entire second act and a white woman's fall and attempted redemption. Gone with the Wind (1939) both plays on convention and offers a moment of transgression for Prissy, who takes her voice for her own pleasure in defiance of Scarlett O'Hara. The detachment of the spiritual from the everyday experience of African Americans led to a recognition of the artistry of the music and the singers on the concert stage. In film, however, the bodies of black singers are marginalized and set in service of white characters and white audiences.

One new recording is a landmark of sorts, for the line of choirmasters at Solesmes runs from Dom André Mocquereau (1889–1914), Dom Joseph Gajard (1914–71), Dom Jean Claire (1971–96), and an interim visitor from St Benoît-du-Lac, Dom Richard Gagné (1996–2003), to a young monk of Solesmes, frère Yves-Marie Lelièvre. His first recording (no. 1 in the list below) offers the Mass Propers for the first three Sundays of Ordinary Time, formerly the Sundays after Epiphany, a programme that matches Dom Gajard’s last recording directing the nuns of Argentan in 1971 (7536 in my discography). Two of those chants have been replaced here, as in the Graduale Triplex, and the expanded playing time of a CD has been given over to seven organ selections played on the abbey’s Schwenkedel organ by Jacques Kauffmann of Paris. Frère Lelièvre selected a schola of twenty-one monks, perhaps not much smaller than Dom Claire used, and elicited a lightness of execution that simply must be heard. There is a forward motion in the singing that is particularly effective in the melismas. Just hear the seldom-recorded gradual ‘Benedictus Dominus’. This is the portent of a fine series of recordings.

The article deals with the formation of sacred music by Christians in the early Middle Ages. Basing on the historical sources and scientific literature, the authors show a connection between the musical traditions of Rome, the Western Goths of Spain and the empire of Charlemagne. The teaching of professional church singers, the birth of Mass, the complexity of the musical pattern of Christian singing, the educational ideas of Isidore of Seville and Alcuin of York, the metriz school timely opened by Christian mentors – all of it contributed to the formation of the early medieval educational process. Alcuin is the author of many (about 380) Latin instructive, panegyric, hagiographic, and liturgical poems (among the most famous are The Cuckoo (lat. De cuculo) and The Primate and Saints of the York Church (lat. De pontificibus et sanctis Ecclesiae Eboracensis )). Alcuin also wrote puzzles in poetry and prose. Alkuin conducted the extensive correspondence (with Charles the Great, Anguilbert, Pope Leo III and many others, a total of 232 letters to various people); Alcuin's letters are an important source on the history of the Carolingian society. At the Palace Academy, Alquin taught trivium and quadrivia elements; in his work On True Philosophy, he restored the scheme of the seven liberal arts, following Kassiodor’s parallel between the seven arts and the seven pillars of the temple of Wisdom of Solomon. He compiled textbooks on various subjects (some in a dialogical form). The Art of Grammar (lat. Ars grammatica) and the Slovene of the Most Noble Young Man Pipin with Albin Scholastic (Lat. Disputatio regalis et nobilissimi juvenis Pippini cum Albino scholastico) became very famous. Alcuin’s textbooks on dialectics, dogmatics, rhetoric, and liturgy are also known.

ABSTRACTIn the mid-fourteenth century the Black Death inflicted one of the most devastating losses of life in human history. This was met by exercises of collective piety such as the singing of psalms and the celebration of special votive masses, which encouraged social cohesion in the face of the tragedy. This article presents results from an analysis of fifty-seven manuscripts containing copies of the monophonic ‘Recordare domine’ Mass, reportedly created at the behest of Clement VI at Avignon during his Black Death-spanning pontificate. Of these, seven manuscripts contain fully notated renditions of each of the chants for the Mass Propers, enabling us to decouple questions concerning the organisation and transmission of the melodies from those of the texts set to them. When the different versions of the Mass are compared, two major findings emerge. First, differential patterns of consistency within the texts and melodies suggest that the texts of the ‘Recordare domine’ Mass may have circulated separately from the melodies set to them, with the choice of music left to the discretion of the local performing clergy. Second, the patterns of variation between different versions of the Proper texts and melodies allow us to see how a variety of composition strategies (including mnemonic processes) were used to create new music for the mass. The ‘Recordare domine’ Mass thus sheds light not only on the performance of organised sacred music at a pivotal point in European history, but also more generally on the processes of chant composition as a tool for use in response to social stress.

The turtle (kame) is of great importance in East Asian culture and it is seen as a supernatural creature. In Japanese literature, we can find examples of the turtle in works dating back to the Nara period, such as Tangokuni fudoki and Nihonshoki. Just like the crane, the turtle is a symbol of longevity. However, from the Kamakura period a new and unique interpretation of the turtle as the “singing/crying turtle” makes its appearance. Of this topos, known as kame naku, we can find only very few examples in literature until the Meiji era and the most known are the waka anthologies Shinsen waka rokujō and Fuboku wakashō, and Kyokutei Bakin’s kigo collection Haikai saijiki shiorigusa. However, from the beginning of the modern age, kame naku has been used by many poets as a kigo connected to spring and its frequency has hugely increased. After the war, it began to appear not only in poetry but also in novels and essays. The best known examples of this being Mishima Yukio’s short novel Chūsei, Uchida Hyakken’s essay Kame naku ya, Kawakami Hiromi’s work Oboreru. Using kame naku as a keyword, in this paper we will analyze the attitudes and approaches of modern and contemporary poets and novelists toward the topos.

Our family dog is an Andalusian bog hound, a perfect specimen of his breed. His appearance and behavior are typical of bog hounds, but for those readers not familiar with them, a description is in order. An un-usually handsome animal, he stands 22 inches high at the shoulder, maintains a trim weight of fifty-seven pounds, and has a short, smooth coat of a rich, red-brown color and a well-proportioned head with strong jaw musculature and brown eyes. He is extremely fast, and while running in open areas makes frequent, stiff-legged bounds straight up in the air. This may be an ancient canine technique of cooperative pack hunting, probably serving both to stir up prey and to provide a view over tall grass. His name is J. D., given by my daughter Kate because the way he moves his hindquarters when he walks reminded her of a character of that name played by Brad Pitt, in the movie Thelma and Louise. J. D. is exceptionally affectionate. He has never been known to growl or snap at anyone, although he once took exception to a recording of Paul Robeson singing “Old Man River.” When permitted, he greets people by standing on his hind legs with his feet on their chest (or shoulders, if they are short) and gazing directly into their eyes. He rarelys hows affection by licking; as a special mark of favor he may take a handor arm into his mouth and chew gently. His distaste for swimming—as opposed to walking in muck—is characteristic of bog hounds, especially Andalusians. We tested this behavior during a trip along the headwaters of the Passaic River, in northwest New Jersey. Coming to a deep pool, my wife, Joan, J. D.’s favorite, jumped in and pretended to be drowning. J. D. watched from the ban kin great agitation as she splashed and screamed, but he made it quite plain that if anyone were to jump in and save her, it would have to be me, or perhaps another dog. It is hard to judge J. D.’s intelligence.

Chapter three examines the emergence of dictatorships in post-independence Africa. In his dictatorship-trilogy (1979-1983), Nuruddin Farah provides a fictional account of the state of emergency that was Siad Barre’s dictatorship in Somalia (1969-1991). Like Okot and Ngũgĩ, Farah also draws heavily on oral conventions, specifically those tied to Xeer, or Somali oral law. However, legalistic orature in Somalia is available not only to revolutionaries but to the dictator himself, who turns oral poetry to his purposes. Farah, therefore, asks: if orature can serve injustice as easily as justice, can it be effective in challenging dictatorial power? The presence of orality coincides once again with a temporal motif, punctuated at the end of each novel with formal open-endedness. In the context of Somalia’s legal history, this open-endedness provides a definite, though perplexing, solution to the problem of colonial/postcolonial crisis seen in previous chapters: as one of Farah’s characters observes, “time was ultimately a decider.” This suggests that however indefinite a dictator’s rule may seem to be, however indefinite the crisis, time will eventually outlive agents of injustice. Dictators will die. Regimes will pass on. And, hopefully, justice will prevail, even if in a “future beyond the future of a future.”

This chapter addresses the British musical in the 1970s and 1980s. The review (of old music) replaced the revue, as can be seen in the mermaid's Cowardy Custard (1972) and Cole (1974), which were both stylish recapitulations of Noël Coward and Cole Porter. They had flavorsome casts, though the singing was variable. The chapter then focuses on two adaptations: The Good Companions (1974) and Peg (1984). It also considers the staging of movie musicals. This is not a ground-breaking genre, but one title that now stands out as a secret classic is Alan Parker's staging of the movie Bugsy Malone, in 1983. The staging of this retained all ten of the movie's numbers without emendation, and while the entire cast was dubbed onscreen, Parker had his stage cast doing their own vocals.

This book begins with an invocation of the sounds and significations that make up the complex of meanings of klezmer music in Berlin, as seen through a new jam session that began in the city in 2013. It underlines the importance of locating the music both historically and in its contemporary urban context—giving a brief but important sense of the past and present geographies of klezmer music, and also signaling exactly where and how the debate has significantly moved on from the anxieties of “virtual Judaism” and cultural appropriation. The chapter lays out the author’s methodology, as well as signposting certain theoretical frameworks that structure the narrative: the urban spatial critique of Lefebvre and de Certeau; British cultural studies work by Stuart Hall and others; the applied sociology of Adam Krims and Mark Granovetter; and the ethnomusicological framing of Mark Slobin and Martin Stokes. The chapter finishes with an appealing ethnographic snapshot of an evening of community music making, “the Night of the Singing Balconies”—an event that sums up several of the themes structuring this book. This collective concert is analyzed as a lively embodiment of contemporary Berlin performative culture: grassroots inclusivity; a firm belief in the power of enthusiasm over the necessity of talent; and a structural and ideological integration into the fabric of the city itself. The engaging observational style with which the Singing Balconies are described not only brings the night to life but also makes clear the book’s overall approach of ethnographic detail underpinned by solid theoretical framing.

In 879 (or 875), Cheoyong, who appeared with several people wearing unfamiliar appearance and strange clothes, performed singing and dancing in front of the king of Silla. After that, he moved to the capital with the king, and it is believed that he performed there. According to the legend, Cheoyong, who came in late at night after performing, found that the god of smallpox was with his wife, sang and danced without anger. The god, who saw Cheoyong's behavior, said he would not invade the place where his image was painted, so his portrait later served as an amulet to prevent disease and ghosts. After that, Cheoyong has left somewhere and his dances and songs remained as Cheoyongmu(dance of Cheoyong) and Cheoyongga(song of Cheoyoung), settling down as a Korean folk art. Cheoyong is seen as a sogd performer who escaped from the political turmoil in China when looking at his appearance, his profession, and the situation at the time, which was not familiar to Koreans.