Relevant bibliographies by topics / Operatic Singing

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Operatic Singing'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Operatic Singing"

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LO, WAI HAN. "The music culture of older adults in Cantonese operatic singing lessons." Ageing and Society 35, no. 8 (May 22, 2014): 1614–34. http://dx.doi.org/10.1017/s0144686x14000439.

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ABSTRACTCantonese operatic singing, one of the regional opera forms in China, flourishes mainly in the southern province of Guangdong. By exploring the culture of Cantonese operatic singing, this study relates older people's music participation to a sense of collectivism, thereby contributing to the maintenance of interpersonal relationships and promoting successful ageing. The study also illustrates how the musical participation of older adults can be influenced by the lifecourse and ageing in terms of both vocal abilities and levels of participation. Data analysed through participation observation in two Cantonese operatic singing lessons identify the rituals and core values of Cantonese operatic singing lessons. The findings help to explain how this particular music genre interacts with ageing.
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Birch, Peer, Bodil Gümoes, Hanne Stavad, Svend Prytz, Eva Björkner, and Johan Sundberg. "Velum Behavior in Professional Classic Operatic Singing." Journal of Voice 16, no. 1 (March 2002): 61–71. http://dx.doi.org/10.1016/s0892-1997(02)00073-5.

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Rosand, Ellen. "Operatic ambiguities and the power of music." Cambridge Opera Journal 4, no. 1 (March 1992): 75–80. http://dx.doi.org/10.1017/s0954586700003621.

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‘Pur sempre su le nozze canzoneggiando vai.’ Arnalta's remark to Poppea (L'incoronazione di Poppea, Act II scene 10), occasioned by Poppea's lyrical exultation over the death of Seneca, provokes the closing sententia of Edward T. Cone's recent exploration of the ambiguous world of opera and its inhabitants. Translating the nurse's comment as ‘You're forever going around singing songs about your wedding’, Cone concludes that ‘this is just what characters in opera do: they go around singing songs all the time’.
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Foulds-Elliott, S. D., C. W. Thorpe, S. J. Cala, and P. J. Davis. "Respiratory function in operatic singing: effects of emotional connection." Logopedics Phoniatrics Vocology 25, no. 4 (January 2000): 151–68. http://dx.doi.org/10.1080/140154300750067539.

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Larrouy-Maestri, Pauline, David Magis, and Dominique Morsomme. "The Evaluation of Vocal Pitch Accuracy." Music Perception 32, no. 1 (September 1, 2014): 1–10. http://dx.doi.org/10.1525/mp.2014.32.1.1.

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The objective analysis of Western operatic singing voices indicates that professional singers can be particularly “out of tune.” This study aims to better understand the evaluation of operatic voices, which have particularly complex acoustical signals. Twenty-two music experts were asked to evaluate the vocal pitch accuracy of 14 sung performances with a pairwise comparison paradigm, in a test and a retest. In addition to the objective measurement of pitch accuracy (pitch interval deviation), several performance parameters (average tempo, fundamental frequency of the starting note) and quality parameters (energy distribution, vibrato rate and extent) were observed and compared to the judges’ perceptual rating. The results show high intra and interjudge reliability when rating the pitch accuracy of operatic singing voices. Surprisingly, all the parameters were significantly related to the ratings and explain 78.8% of the variability of the judges’ rating. The pitch accuracy evaluation of operatic voices is thus not based exclusively on the precision of performed music intervals but on a complex combination of performance and quality parameters.
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Parr, Sean M. "Vocal Vulnerability: Tenors, Voix mixte and Late Nineteenth-Century French Opera." Cambridge Opera Journal 30, no. 2-3 (November 2018): 138–64. http://dx.doi.org/10.1017/s0954586719000041.

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AbstractIt is now a historical commonplace that nineteenth-century operatic singing became generally louder and heavier over the course of the century. Early in the century, before the advent of singers such as Gilbert-Louis Duprez, tenors sang high notes with a light, mixed voice, sometimes even falsetto. Strikingly, while such singing was virtually eliminated from Italian opera by the end of the century, the vocal practice continued in certain cases in the French repertory, some of which were created with one particular tenor in mind, Jean-Alexandre Talazac (1851–1896). Talazac was praised for his unique ability to sing high notes both softly and loudly. This article investigates the physical practice of producing what pedagogues and critics have called voix mixte, an enigmatic timbre applied to moments of soft, high tenor singing. In exploring these moments of what I call ‘léger mode’, I suggest that, by singing high notes softly in a post-Duprez operatic world, tenors transcend stage gestures through their use of a formerly normative performance style to mark moments musically as representations of vocal and masculine vulnerability. The historical evidence also argues for a renewed focus on what soft tenor singing might do for opera today.
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Novak, Jelena. "Singing beyond the TV Screen: Documentary, News and Interviews as Operatic Material." Dramaturgias, no. 10 (May 29, 2019): 91–109. http://dx.doi.org/10.26512/dramaturgias.v0i10.24905.

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John Adam’s opera Nixon in China (1987) opened the era of what some critics called ‘CNN operas’ — an operatic mixture of political issues and televisual representation. Since Nixon, various attempts to interrogate issues of world politics, power and realism on the (post)operatic stage took place: video documentary opera Three Tales (1998–2002) by Steve Reich and Beryl Korot, “The News” (2011) by Jacob ter Veldhuis (Jacob TV), five one-minute operas by Michel van der Aa (produced from 2010 to 2014, commissioned for the Dutch TV program Der Wereld Drait Door), Aliados (2013) by Sebastian Rivas, to mention only the few. This article attempts to give a partial overview of different operatic approaches to televisual expression and to illuminate ways of depicting documentary and news in recent opera focusing on the political figures.
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DUNCAN, MICHELLE. "The operatic scandal of the singing body: Voice, presence, performativity." Cambridge Opera Journal 16, no. 3 (November 2004): 283–306. http://dx.doi.org/10.1017/s0954586704001879.

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This essay addresses the materiality of voice in opera production, proposing a shift away from methodological models that posit voice as silent and disembodied towards one in which the body figures central. Comparing the voice in opera with the voice of the performative utterance, the article assesses the relevance of performativity to opera studies. A distinction between Derrida's critique of the ‘metaphysics of presence’ and the presence of performance leads to a discussion of the ‘force’ of the vocal utterance and its relationship to the real via Shoshana Felman's The Scandal of the Speaking Body. The central argument is that voice upsets the model of distanced reason upon which enlightened subjectivity depends.
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Francis, Kimberly, and Sofie Lachapelle. "The Medical and the Musical: French Physiology and Late Nineteenth-Century Operatic Training." Cambridge Opera Journal 28, no. 3 (November 2016): 347–62. http://dx.doi.org/10.1017/s0954586716000458.

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AbstractIn 1892, physician Achille Gouguenheim (1839–1901) was invited to teach a course on the physiology and hygiene of singing at the Paris Conservatoire. By that time, scientists had been interested in the mechanics of the ‘invisible’ singing voice for years, initially experimenting on human and animal cadavers using strings and weights to make dead larynges sing. By mid-century, with the development of better quality artificial lighting and mirrors, physicians and physiologists finally developed a better understanding of the relationship between voice and physiology. Meanwhile, by 1890, a growing number of connoisseurs and medical professionals alike were concerned that there was a crisis ruining French operatic singing. Gouguenheim and others argued that the key to improving the situation rested on embedding medical knowledge and its relationship to the proper functioning of the larynx and voice into pedagogy at the Conservatoire. Drawing upon archival documents, debates in leading periodicals and Gouguenheim’s published lecture notes, we examine the marriage between medical science and artistic pedagogy during the latter part of the nineteenth century. Overall, we argue that this evidence reveals a strand of French vocal training that merged the fields of science and artistry, if ever so briefly, creating pedagogical methods that for a few years offered the promise of rescuing French opera performance.
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Angelakis, E., A. Andreopoulou, and A. Georgaki. "Multisensory biofeedback: Promoting the recessive somatosensory control in operatic singing pedagogy." Biomedical Signal Processing and Control 66 (April 2021): 102400. http://dx.doi.org/10.1016/j.bspc.2020.102400.

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Dissertations / Theses on the topic "Operatic Singing"

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Foulds-Elliott, Susannah Deborah. "Respiration in operatic singing: Intention to communicate." University of Sydney. Communication Sciences and Disorders, 2004. http://hdl.handle.net/2123/657.

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Professional operatic singing can be performed technically for practice and rehearsal, or with heightened emotion through intention to communicate with an audience. Previous studies of respiration in operatic singing have not taken into account the professional performer�s ability to differentiate at will between rehearsal and performance modes of singing. The aim of this thesis is to investigate the differences between singing �with intention to communicate� (as if performing) and singing �technically� (as if in rehearsal). The hypothesis is that this specified change of condition would change the respiratory patterns employed by the singers. Estimation of respiratory patterns was obtained using magnetometers. Performance singing was labelled �IC� (intention to communicate). Rehearsal singing was labelled �T� (technical) and also included �TL� (technical loud) and �TS� (technical soft). Each of the five singers performed two tasks (a free choice aria in Italian, and a set song). Only intra-subject analysis was used. One thousand and one breaths were analysed. These were then matched, so that only complete musical phrases (sung six times by the same singer) were compared with each other. Seven hundred and sixty-two matched phrases were analysed in this way. Measured variables were initiation lung volume (ILV), termination lung volume (TLV), the amount of lung volume expired (LVE), %VC released per second (Flow), the expiratory time (Te), and inspiratory time (Ti). Sound pressure level (SPL) was measured. This study also examined the ability of experienced listeners to distinguish between the T and IC performances from DAT recordings. Findings show that in comparison with T singing, IC singing used more air, with a greater percentage of vital capacity expired per second, but without a simple association with sound pressure level or expiratory time. Listeners were able to distinguish IC from T performances, demonstrating a perceived difference in the quality of the vocal output. These results demonstrate that performance intention to communicate, compared to rehearsal, results in a measurable difference in respiratory parameters, and therefore needs to be specified in future research.
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Foulds-Elliott, Susannah. "Respiration in operatic singing intention to communicate /." Connect to full text, 2004. http://hdl.handle.net/2123/657.

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Thesis (Ph. D.)--University of Sydney, 2005.
Title from title screen (viewed 19 May 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the School of Communication Sciences and Disorders, Faculty of Health Sciences. Degree awarded 2005; thesis submitted 2004. Includes bibliographical references. Also available in print form.
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Björkner, Eva. "Why so different? - Aspects of voice characteristics in operatic and musical theatre singing : Aspects of voice characteristics in operatic and musical theatre singing." Doctoral thesis, KTH, Tal, musik och hörsel, TMH, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4198.

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This thesis addresses aspects of voice characteristics in operatic and musical theatre singing. The common aim of the studies was to identify respiratory, phonatory and resonatory characteristics accounting for salient voice timbre differences between singing styles. The velopharyngeal opening (VPO) was analyzed in professional operatic singers, using nasofiberscopy. Differing shapes of VPOs suggested that singers may use a VPO to fine-tune the vocal tract resonance characteristics and hence voice timbre. A listening test revealed no correlation between rated nasal quality and the presence of a VPO. The voice quality referred to as “throaty”, a term sometimes used for characterizing speech and “non-classical” vocalists, was examined with respect to subglottal pressure (Psub) and formant frequencies. Vocal tract shapes were determined by magnetic resonance imaging. The throaty versions of four vowels showed a typical narrowing of the pharynx. Throatiness was characterized by increased first formant frequency and lowering of higher formants. Also, voice source parameter analyses suggested a hyper-functional voice production. Female musical theatre singers typically use two vocal registers (chest and head). Voice source parameters, including closed-quotient, peak-to-peak pulse amplitude, maximum flow declination rate, and normalized amplitude quotient (NAQ), were analyzed at ten equally spaced subglottal pressures representing a wide range of vocal loudness. Chest register showed higher values in all glottal parameters except for NAQ. Operatic baritone singer voices were analyzed in order to explore the informative power of the amplitude quotient (AQ), and its normalized version NAQ, suggested to reflect glottal adduction. Differences in NAQ were found between fundamental frequency values while AQ was basically unaffected. Voice timbre differs between musical theatre and operatic singers. Measurements of voice source parameters as functions of subglottal pressure, covering a wide range of vocal loudness, showed that both groups varied Psub systematically. The musical theatre singers used somewhat higher pressures, produced higher sound pressure levels, and did not show the opera singers’ characteristic clustering of higher formants. Musical theatre and operatic singers show highly controlled and consistent behaviors, characteristic for each style. A common feature is the precise control of subglottal pressure, while laryngeal and vocal tract conditions differ between singing styles. In addition, opera singers tend to sing with a stronger voice source fundamental than musical theatre singers.

QC 20100812

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Björkner, Eva. "Why so different? : aspects of voice characteristics in operatic and musical theatre singing /." Stockholm : School of Computer Science and Communication, Kungl, Tekniska högskolan (KTH), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-4198.

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Lo, Wai Han. "Reproducing pleasure through rituals : the music culture of older adults and young people in Cantonese operatic singing lessons." HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1470.

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Morris, Brad Lawson. "A Countertenor's Reference Guide to Operatic Repertoire." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554918197976462.

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Stanley, David Thomas. "A Countertenor Aria Collection Continuum for Studio Training and Performance." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248503/.

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An assessment of the standard voice instructor or performer collection of printed music would likely reveal numerous operatic repertoire volumes in anthology format appropriated to the primary four voice categories. However, thorough investigation divulges little in comparable printed material accessible to the countertenor. This scarcity of systemized collections is especially evident in the territory of comprehensive countertenor operatic repertoire. This project fills that present void by creating a compilation of sixteen countertenor arias drawn from various styles and historical periods for suggested application in studio instruction and performance. Perhaps, a more meaningful project intent is the presentation of a beneficial graded literature continuum resource for the studio teacher who instructs a countertenor in various stages of vocal development. For this purpose, each of the 16 arias is categorized into four difficulty levels based on considerations of range, tessitura, coloratura demands, rhythm, sustained phrase length, tonality, melodic considerations/overall musical difficulty, accompaniment support, and ornamentation requirements. The project also addresses common issues of pedagogy and ornamentation for voice teacher consideration when instructing a developing countertenor.
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Wu, Man-Mei. "Three Voices for voices, woodwind, percussion, and string instruments." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2684/.

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Composed for soprano, tenor, and baritone voices, woodwind, percussion, and string instruments, Three Voices is a polyglotic work that includes German, Chinese, and Spanish texts. The texts are chosen from Brecht Bertolt's Das Schiff, Po Chu I's Lang T'ao Sha, and Frederico Garcia Lorcá's Mar. Significant features of the piece are 1) application of Chinese operatic singing methods to vocal material in the sections that use Chinese text, 2) use of western instruments to emulate the sound of certain Chinese instruments, and 3) employment of Sprechstimme and dramatically inflected speech to create theatrical effects and highlight the sections that use German and Spanish texts.
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"Customization of performance: outdoor Cantonese operatic singing activities at Temple Street of Hong Kong." Chinese University of Hong Kong, 1996. http://library.cuhk.edu.hk/record=b5888897.

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by Lam Wing Cheong.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1996.
Includes bibliographical references (leaves 138-146).
Some music examples in Chinese.
Abstract --- p.iv
List of Tables and Figures --- p.v
List of Music Examples --- p.vi
Maps of Hong Kong --- p.vii
Chapter Chapter One --- Introduction
Chapter 1.1 --- Definitions of Context and Customization --- p.1
Chapter 1.2 --- Conceptual Framework --- p.2
Chapter 1.3 --- The Field --- p.3
Chapter 1.4 --- The Structure of Cantonese Operatic Song --- p.5
Chapter 1.5 --- Source Materials and Methodology --- p.12
Chapter 1.6 --- Scope and Limitations --- p.14
Chapter 1.7 --- Translation and Transliteration --- p.16
Chapter Chapter Two --- History of Street Performance and Cantonese Operatic Song Groups at Temple Street
Chapter 2.1 --- A brief history of Chinese street performance --- p.18
Chapter 2.2 --- A brief history of street performance in Hong Kong --- p.22
Chapter 2.3 --- The organization of the groups --- p.29
Chapter 2.4 --- The financial system and its function --- p.31
Chapter 2.5 --- Concluding Notes --- p.33
Chapter Chapter Three --- "Performers, Performing Style, and Programming"
Chapter 3.1 --- From ambulatory to sedentary performers --- p.38
Chapter 3.2 --- Performing style of the song groups --- p.39
Chapter 3.3 --- The performance programming created by song groups --- p.41
Chapter 3.4 --- Concluding notes --- p.45
Chapter Chapter Four --- Roles and Functions of the Audience and the Interlocking Relationship between Audience and Performers
Chapter 4.1 --- Historical background --- p.48
Chapter 4.2 --- The audience at Temple Street --- p.51
Chapter 4.3 --- The interlocking relationship between audience and performers --- p.56
Chapter 4.4 --- Concluding notes --- p.67
Chapter Chapter Five --- Customization of Performance
Chapter 5.1 --- Customization of the instrumental section --- p.71
Chapter 5.2 --- Customization of repertoire --- p.74
Chapter 5.3 --- Concluding notes --- p.87
Chapter Chapter Six --- Conclusion --- p.90
Tables --- p.97
Figures --- p.100
Music Examples --- p.102
Glossary --- p.129
References --- p.138
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Sung, Hsiu-Lien, and 宋秀蓮. "KTV pop singing at the long tail phenomenon and mode of operation." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/62467372092625637834.

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碩士
中國文化大學
國際企業管理研究所碩士在職專班
96
ABSTRACT: United States “connect” magazine editor-in-chief Chris. Anderson (Chris Anderson) on October 2004 BC, in an article, for the first time put forward a theory The long tail (The long tail). 2006 BC published [The long tail theory] - break the 80/20 rule of the new economics, mentioned in the book, due to the rise of the Internet, 99 per cent of the sales of products have a chance to upset the market size increases of goods total, and even compare with the best-selling merchandise counter. Most people think that The long tail phenomenon is the exclusive e-commerce phenomenon, in fact, as long as consumers have freedom of choice, then there will be long tail phenomenon. In this study by “Cashbox” and “Holiday” KTV two entities VOD number of products to test Star or The long tail phenomenon. Research topics are: 1. KTV entities phenomenon access The long tail (The long tail of the e-commerce phenomenon is not exclusive) . 2. Pop star products will be gradual over time become The long tail products (pop star products will be gradual curve along The long tail become long tail products). 3. Diverse choice would stimulate consumer demand (to give customers more choices will tend to smooth The long tail). Through this research study and analysis, could provide the manager should be committed to the development of diversified products, Do not put all of the company's resources on a small number of star products, in this way it can create a better perform-ance for the company.
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Books on the topic "Operatic Singing"

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Singher, Martial. An interpretive guide to operatic arias: A handbook for singers, coaches, teachers, and students. University Park, PA: Pennsylvania State University Press, 1995.

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Maddison, Dorothy. Kein' Angst, Baby: A singer's guide to German operatic auditions in the 1990s. London: Rhinegold, 1991.

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Maddison, Dorothy. Kein' Angst, baby: A singers's guide to German operatic auditions in the 1990s. London: Rhinegold, 1991.

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Decker, Gregory J., and Matthew R. Shaftel, eds. Singing in Signs. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190620622.001.0001.

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Singing in Signs is a collection of essays from prominent opera scholars that explores the rich interplay of symbols in the operatic genre, while simultaneously providing perspective on the state of opera study. Each author, whether explicitly or implicitly, uses the powerful tools of semiotics (the study of signs) to construct interpretations and discover relationships among music, lyrics, and drama. Authors in this collection use a combination of traditional and emerging methodologies to engage composer-constructed and work-specific music-semiotic systems, broader sociocultural music codes, and narrative strategies. Many of the essays have implications for performance and staging. Singing in Signs answers the call—through the lens of semiotics—to embrace opera on its own terms and to engage all of its constituent elements in interpretation. The purpose of the present volume is to “resurrect” serious musical study of opera—not because it has not been taking place—but in a larger sense as a multifaceted, interpretive discipline, by collecting some of these efforts in one volume. The essays here focus on the musical, dramatic, cultural, and performative in opera and demonstrate how these modes can create an intertext that informs interpretation. Operas explored in this volume span the late Baroque period through the present day, including composers from Handel to Wagner to Britten.
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(Translator), Eta Singher, ed. An Interpretive Guide to Operatic Arias: A Handbook for Singers, Coaches, Teachers, and Students. Pennsylvania State University Press, 2003.

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Wolff, Larry. Singing Turk: Ottoman Power and Operatic Emotions on the European Stage from the Siege of Vienna to the Age of Napoleon. Stanford University Press, 2018.

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The singing Turk: Ottoman power and operatic emotions on the European stage from the siege of Vienna to the age of Napoleon. Stanford University Press, 2016.

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Shirley, George. Il Rodolfo Nero, or The Masque of Blackness. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036781.003.0013.

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In this chapter, the author reflects on the issue of race in opera and its impact on black singers. He first recounts his European operatic debut in Milan in 1960, singing the role of Rodolfo in Giacomo Puccini's La Bohème, and how his performance prompted numerous references to “il Rodolfo nero”(“The black Rodolfo”) in many Italian newspapers. The author reveals how blackness has figured in his theater performances since he entered the singing profession, including those with the Scottish Opera and the Metropolitan Opera. He notes that black singers of opera remain minorities in the profession numerically and racially; they are rarely, if ever, selected to interpret white roles in operas that focus on life in contemporary white society. He concludes by saying that he will not discourage young black singers from following their dreams of singing the great roles, and that the profession must respect what the artist brings vocally, musically, and dramatically as well as the opera-loving public's voracious appetite for great singing.
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Parr, Sean M. Vocal Virtuosity. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197542644.001.0001.

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Vocal Virtuosity is a book about the apex of operatic vocalism. Nothing strikes the ear quite like a soprano singing in the sonic stratosphere. Whether thrilling, chilling, or repellent to the listener, the reaction to cascades of coloratura with climaxing high notes is strong. Coloratura—agile, rapid-fire singing—was originally essential for all singers, but its function changed greatly when it became the specialty of particular sopranos over the course of the nineteenth century. The central argument of Vocal Virtuosity runs counter to the historical commonplace that coloratura became an anachronism in nineteenth-century opera. Instead, the book demonstrates that melismas at mid-century were made modern. Coloratura became an increasingly marked musical gesture during the century with a correspondingly more specific dramaturgical function. In exploring this transformation, Parr’s research reveals the instigators of this change in vocal practice and the perpetuators of the art of coloratura. Vocal Virtuosity examines the historical traces of Parisian singers who were the period’s greatest exponents of vertiginous vocality as archetypes of the modern coloratura soprano. The book also explores what melismas can signify in operatic performance while constructing the historical trajectory of coloratura as it became gendered the provenance of the female singer. In arguing that vocal virtuosity was a source of power for women, generating space for female authorship and creativity, the book reclaims a place in history for the coloratura soprano.
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Mathews, William Smythe Babcock. A Hundred Years of Music in America : An Account of Musical Effort in America : During the Past Century Including Popular Music and Singing Schools, ... Operatic and Oratorio Music: Improvements in. Brand: Nabu Press, 2010.

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Book chapters on the topic "Operatic Singing"

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Burgess, Rob, M. Slabbert, Brian Copeland, Claus R. Jesperson, Peter H. Killewo, Pontian Ruta, Edward Lungwa, John Situma Mukhwana, Jarmo J. Hukka, and James Mwarni. "6. Reconstruction development plan - Hlanganani; Sustainability with large communally-owned systems; Village-level operation and maintenance; Singida integrated rural development project; Sustainability of community water supplies; Spring protection - sustainable water supply." In Sustainability of Water and Sanitation Systems, 85–103. Rugby, Warwickshire, United Kingdom: Practical Action Publishing, 1996. http://dx.doi.org/10.3362/9781780443522.006.

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Burton, Deborah. "Stormy Weather." In Singing in Signs, 265–88. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190620622.003.0010.

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Operatic Formenlehre seems to be alive and well—witness the wealth of publications on the solita forma (after Ritorni, Basevi, and Powers) and on concerto-like sonata forms in Mozart arias as early as the 1768 La finta semplice (after Mann and Rosen). But even standard operatic forms have often been thwarted—throughout opera’s long history—by dramatic exigencies. The purpose of this chapter is to explore and define subcategories of deformations in operatic storm scenes by identifying formal types along the continuum between closed operatic numbers and continuous, fragmentary musical flow. Formal (and deformational) categories are examined here in light of the topos of storm scenes from operatic selections of the Baroque, Galant, and Romantic periods, and avoiding the more traditional loci of continuous music, such as act finales.
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Everett, Yayoi Uno. "John Adams’s The Death of Klinghoffer." In Singing in Signs, 339–66. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190620622.003.0013.

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The viewing of opera begs the question of how operatic text (music and libretto) becomes constrained and absorbed by the performance medium. Especially in contexts where the filmic projection of images creates additional layers to the actions taking place on stage, the visual field becomes semantically overloaded and requires negotiation on its own terms. This chapter argues that Tom Morris’s production of John Adams’s The Death of Klinghoffer preserves the integrity of the operatic text by interjecting visual images that set the broader allegorical themes into relief. Themes implicit in the operatic text, while being absorbed into the performance text, become integrated into the overall narrative that balances the mythic dimension with realism. More specifically, this chapter examines the intersection between the operatic and performance texts in Morris’s productions in three analytical stages and introduces a theoretical framework for categorizing intermedial relationship based on Nicholas Cook’s models of conformance, contest, and complementation.
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"3. The Triumphant Sultana: Suleiman and His Operatic Harem." In The Singing Turk, 79–107. Stanford University Press, 2020. http://dx.doi.org/10.1515/9780804799652-005.

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"2. The Generous Turk: Captive Christians and Operatic Comedy in Paris." In The Singing Turk, 51–78. Stanford University Press, 2020. http://dx.doi.org/10.1515/9780804799652-004.

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"10. Maometto in Naples and Venice: The Operatic Charisma of the Conqueror." In The Singing Turk, 305–36. Stanford University Press, 2020. http://dx.doi.org/10.1515/9780804799652-012.

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"1. The Captive Sultan: Operatic Transfigurations of the Ottoman Menace after the Siege of Vienna." In The Singing Turk, 13–50. Stanford University Press, 2020. http://dx.doi.org/10.1515/9780804799652-003.

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Chattah, Juan. "Postmodern Opera 101." In Singing in Signs, 313–38. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190620622.003.0012.

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Reacting against traditional narrative strategies while engaging the dialectics embedded in both irony and nostalgia, postmodern aesthetics transform and subvert conventional models, transgressing the ideology behind musical conventions and appealing to a reconfiguration of normative conceptions. In this chapter, the author’s reading of Dennis Kam’s Opera 101 examines how the bifurcating narrative trajectories of the music and the libretto articulate a postmodern metanarrative that invite ironic and nostalgic interpretations. Within this work, nostalgia is anchored on intertextual references of firmly established operatic gestures, while irony is grounded in the dialectics of bifurcating narratives and supported by localized, surface-level indexical tropes. This chapter thus underscores that the postmodernist impulse in opera may be revealed by deploying analytical frameworks liberated from the traditional understanding of “narrative” and its associated normative aesthetics.
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"Spiritual Aspects of Operatic Singing: Klaus Florian Vogt." In Theatre, Opera and Consciousness, 161–79. Brill | Rodopi, 2013. http://dx.doi.org/10.1163/9789401209298_009.

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"12. The Decline and Disappearance of the Singing Turk: Ottoman Reform, the Eastern Question, and the European Operatic Repertory." In The Singing Turk, 359–88. Stanford University Press, 2020. http://dx.doi.org/10.1515/9780804799652-014.

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Conference papers on the topic "Operatic Singing"

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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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Terasawa, Hiroko, Kenta Wakasa, Hideki Kawahara, and Ken-Ichi Sakakibara. "Investigating the Physiological and Acoustic Contrasts Between Choral and Operatic Singing." In Interspeech 2019. ISCA: ISCA, 2019. http://dx.doi.org/10.21437/interspeech.2019-1864.

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Pucher, Michael, Fernando Villavicencio, and Junichi Yamagishi. "Development of a statistical parametric synthesis system for operatic singing in German." In 9th ISCA Speech Synthesis Workshop. ISCA, 2016. http://dx.doi.org/10.21437/ssw.2016-11.

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Belfroid, S. P. C., H. J. C. Korst, K. G. Nielsen, and E. Bendiksen. "Application of a New Carcass Design for Prevention of Singing Behaviour in Flexible Risers." In ASME 2011 Pressure Vessels and Piping Conference. ASMEDC, 2011. http://dx.doi.org/10.1115/pvp2011-57610.

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The flow of fluid over the inner surface of rough bore flexible pipes may create vortex induced pulsations. For gas risers these pulsations can in some cases be the source of a high amplitude tonal sound. This phenomenon is in the industry referred to as “singing risers”. Under certain circumstances these pulsations can result in large structural vibrations with potential fatigue failure of the connected topside or subsea pipe systems. The singing behavior is dependent on the operating conditions such as product density and viscosity as well as the piping layout of the topside and subsea piping. However, the most important factor is the geometry of the corrugations. In traditional designs the carcass is made from a folded metallic strip. NKT Flexibles has developed a novel approach to carcass manufacturing originally intended for deep and ultra deepwater applications, wherein the carcass is made of helically wound wires rather than a folded strip. Although the main focus for this development was to devise a carcass of superior collapse strength compared to conventional systems, the new carcass design provides a very smooth inner surface, thus mitigating vortex formation which will reduce or eliminate the formation of flow induced pulsations. The susceptibility to singing of the new carcass design is compared to that of a traditional carcass design. This includes the onset of the singing and the flow pressure drop. Due to the much smaller cavities in the new design, the singing tendency is shown to be significantly reduced. In particular, the expected onset velocity is 5–9 times that of a classic rough bore design with 20%–50% of the amplitude. An additional benefit of the new design is that the pressure drop for the pipe is close to that of a smooth bore pipe. Therefore, it is expected that for many applications, the new design will not lead to the generation of high amplitude tonal noise within the desired operating envelope.
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Ottensmeyer, Mark P., Michael Yip, Conor J. Walsh, James B. Kobler, James T. Heaton, and Steven M. Zeitels. "Intra-Operative Laryngoscopic Instrument for Characterizing Vocal Fold Viscoelasticity." In ASME 2007 2nd Frontiers in Biomedical Devices Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/biomed2007-38077.

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Our society depends on communication, the most natural form of which is speech. Trauma, disease and the normal aging process will cause many to suffer degraded or lost vocal fold function, and it has been observed that this number is growing [1]. The vocal folds are the vibrating structures in the larynx that enable us to generate voice, from speech to opera singing. The vibrating portions of the folds consist of an external 0.1mm thick layer of epithelial cells, a soft, gel-like 0.5mm thick layer called the lamina propria (LP), a 0.3mm thick vocal ligament and an underlying thyroarytenoid muscle [2]. The fundamental frequency of speech in men is in the 100–150Hz range, and between 200 and 300Hz in women [3].
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Goodfellow-Hyder, A., J. Biberston, and J. S. Parrish. "Singing Again: Successful Non-Operative Management of a Mediastinal Abscess." In American Thoracic Society 2019 International Conference, May 17-22, 2019 - Dallas, TX. American Thoracic Society, 2019. http://dx.doi.org/10.1164/ajrccm-conference.2019.199.1_meetingabstracts.a3724.

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Legeay, S., M. Decuupere, and D. Charliac. "Flow Induced Pulsations (FLIP) in Rough Bore Gas Flexible Pipes, Tests and Model." In ASME 2017 36th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/omae2017-61324.

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Since the early 2000’s singing risers phenomenon has been encountered. The so called Flow Induced Pulsations (FLIP) phenomenon occurs in dry gas risers (such as Gas Export lines) and may generate high tonal noises up to 110 dB but may also lead to high vibration of adjacent equipment leading to significant fatigue failure. This publication presents the recently developed model that aims at performing FLIP assessment for rough bore gas flexible pipes. The developed model provides the FLIP onset velocity and frequency for a given rough bore. It will also describe the main contributing factors such as the inner layer corrugation profile, the operating conditions (pressure, temperature and flow rate) and adjacent equipment’s acoustic reflection contributions. In addition, a Flow Induced Pulsation test carried out in 2003 to 2006 will be presented. Test outcomes will be compared to model presented in the first part. Finally, reliability of the model will be presented detailing benchmark with past tests and FLIP experienced on fields. To conclude, the model enables predictions and recommendations to avoid FLIP at an early stage prior to project execution.
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de Brito, Walderes Lima, Newton Camelo de Castro, and Carlos Roberto Bortolon. "Young Readers Transpetro Program: The Sustainable Development of Community Close to a Pipeline in Goia´s, Brazil." In 2008 7th International Pipeline Conference. ASMEDC, 2008. http://dx.doi.org/10.1115/ipc2008-64584.

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A person reading an average of sixteen books per year is considered high even in so-called First World countries. This achievement is even more remarkable if it is performed by children of low-income families. An example is the participants of PETI, Child Labor Eradication Program of Jardim Canedo, a neighborhood located over part of the Sa˜o Paulo - Brasi´lia Pipeline, situated in Senador Canedo, Goia´s, Brazil. In 2007 this community experienced the Striving Readers Transpetro Program, which aims to develop a taste for reading among children. Transpetro expects to be helping to overcome the low-quality Brazilian education, reflected in the 72% rate of functional illiteracy. The chief objective of the Program is the development of art education workshops and the creation of the “Readers Group - What story is that?”. The workshops are meant for the educators, with the purpose of offering tools form them to spur the children into reading through techniques such as story-telling, theater, singing, puppet shows, set constructions and other audio visual resources. The Readers Group is intended for children. Participation is voluntary and offers literary books according to the childs’ taste and literacy. In the first year of operation, Striving Readers Transpetro Program relied on the participation of 100% of the educators in the Art Education Workshops and a commitment of 93% of the Readers Group members. It also played a part in the improvement of the childrens performance in formal school. Furthermore, the Program contributed to the mapping of libraries available for PETI members, supported the assembly of a catalogue of institutes that sponsor striving readers programs and performed workshops with the technical staff at selected institutes to educate them on how to conduct fund raising. Such actions, as a whole, ensured sustainability to the program and promoted a company relationship with the community and with the Regulatory Authority. This is a socially responsible approach to ensuring childrens’ rights are met.
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