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Relevant bibliographies by topics / Singing technique

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Academic literature on the topic 'Singing technique'

Author: Grafiati

Published: 4 June 2021

Last updated: 20 February 2023

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Journal articles on the topic "Singing technique"

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LUMBAN GAOL, DEDI BENSAMAS. "ANALISIS TEKNIK BERNYANYI DIANA DAMRAU PADA OPERA “THE MAGIC FLUTE ARIA QUEEN OF THE NIGHT” KARYA WOLFGANG AMADEUS MOZART." Grenek Music Journal 7, no. 2 (October 11, 2018): 224. http://dx.doi.org/10.24114/grenek.v7i2.10987.

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

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Willman, Fred. "Technique in Singing." Music Educators Journal 71, no. 8 (April 1985): 72–73. http://dx.doi.org/10.2307/3396502.

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Wadiyo, Wadiyo, Udi Utomo, and Slamet Haryono. "Western Song Singing Model to Improve Junior High School Students’ Singing Ability in Indonesia." Harmonia: Journal of Arts Research and Education 19, no. 1 (June 24, 2019): 48–54. http://dx.doi.org/10.15294/harmonia.v19i1.23490.

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Singing activities are general activities that seem very easy. It could be said that anyone can sing. However, to be able to sing well and correctly seems to need to be learned. For Junior High Schools in Indonesia, singing activities are included in the teaching material of cultural arts sub music material. This study aims to “analyze how singing activities are taught in classes on learning Art and sub music material”. The approach of this research is interdisciplinary which involves music disciplines and music learning. The research method applied is interpretive qualitative. The research location is Semarang, by involving Semarang Junior High School Students and Teachers as the subject of research. Data collection techniques used in this research is observation, interviews, and documentation studies. The data validity technique is using data source triangulation. Data analysis techniques used in this research are interactive flow. The results showed that teachers taught singing, both in classes Vll, Vlll, and Vlll. Singing activity for class Vll focused on basic singing techniques. The eighth grade is focused on singing, whose vocals or singing techniques are more applied to singing local songs and Nusantara songs. Meanwhile, singing activity in class VIII is more focused on improvising any song. This study concludes that teachers always emphasize the use of western song singing models as a basic technique, regardless of the type of song used in the learning process.

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Lai, Wen-Hsing, Siou-Lin Wang, and Zhi-Yao Xu. "CycleGAN-Based Singing/Humming to Instrument Conversion Technique." Electronics 11, no. 11 (May 30, 2022): 1724. http://dx.doi.org/10.3390/electronics11111724.

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In this research, singing/humming to instrument conversion techniques are proposed. In humming to instrument, two models based on cycle-consistent adversarial networks (CycleGAN) on viola are experimented. From the objective and subjective evaluations conducted, the converted audio is more similar to viola compared to humming, and the quality of the converted sound is fair to listeners. In singing to instrument, to fix the problem of the gap between singing and instrument, a dual conversion model consisting of singing to humming and humming to instrument is proposed. The objective and subjective experimental results show that the dual conversion has better converted audio quality than conversion by singing to instrument directly.

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Ridwan, Ridwan, and A. Fajar Awaluddin. "PENERAPAN METODE BERNYANYI DALAM MENINGKATKAN PENGUASAAN MUFRADAT DALAM PEMBELAJARAN BAHASA ARAB DI RAODHATUL ATHFAL." DIDAKTIKA : Jurnal Kependidikan 13, no. 1 (August 16, 2019): 56–67. http://dx.doi.org/10.30863/didaktika.v13i1.252.

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This study aims to improve the acquisition of Arabic vocabulary in early childhood with singing techniques. Children of all ages are basically happy to listen, sing and learn with songs. Therefore, music in general is an important part of the teaching-learning process for young students. The results showed that early childhood students enjoyed learning Arabic by singing and it was easier to remember the vocabulary taught by the teacher. Thus, it can be concluded that the singing technique is able to improve the mastery of early childhood Arabic vocabulary especially for students of the Raodhatul Athfal Ma'had Hadits Al-Junaidiyah Blue Bone.Keywords: Singing technique, vocabulary mastery, Arabic

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Lyu, Jiayin. "SINGING TECHNIQUE IN THE CHINESE VOCAL TRADITION." Manuscript, no. 11 (November 2019): 278–82. http://dx.doi.org/10.30853/manuscript.2019.11.52.

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Gong, Ni. "Discussion on the “Localization” Singing Technique Transformation of Opera in the Background of Chinese Culture." Review of Educational Theory 2, no. 1 (January 22, 2019): 16. http://dx.doi.org/10.30564/ret.v2i1.221.

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Opera has been developed in China for more than a hundred years as an “imported product” in the West. But the deep-rooted traditional ideas and the artistic aesthetics accumulated over thousands of years have also given the opera a new youth in China. Among them, the most affected area is singing technique. As one of the most intuitive external performance features of opera, singing technique has been the most affected by “localization” and has created a unique singing method belonging to China. Of course, this method is not formed in one fell swoop. The purpose of this paper is to explore the process of “localization” of opera singing technique in the context of Chinese culture, and to demonstrate it completely from the forms, methods, ideas and systems of change, so as to apply the theory more deeply to practical singing and teaching.

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GIOL-CALEFARIU, Emilia. "Vocal technique in the formation stages of the lyric artist." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 79–84. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.8.

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Singing is the way of expression through which feelings, experiences, an ideational content are poetically expressed; in its absence the vocal qualities cannot justify the purpose of the interpretation. The topicality of music education for young performers is determined by an appropriate approach to the process of knowing the essential structure of singing, by understanding and mastering the multiple styles and ways of interpreting each genre, all in conjunction with an integration of historical views on the art of singing. Finding directions of orientation and thinking in the field of vocal interpretation, corroborated with the identification of some intrinsic values of it will contribute to achieving a stable foundation on which the lyrical artist can build a career in interpretation.

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Sinaga, Theodora. "Dasar-Dasar Teknik Bernyanyi Opera." Gondang: Jurnal Seni dan Budaya 2, no. 2 (December 19, 2018): 75. http://dx.doi.org/10.24114/gondang.v2i2.11284.

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This study aims to analyze, Technique of Singing in Opera. The purpose of this research is to know Technique of Singing. The theory used is vocal technique, sound processing, sound formation, breathing, frasering, head voice, powering, vibrato, interpretation, singing, opera, aria, The method used in this research is qualitative descriptive method, namely a research method that aims to describe in detail and clearly about a phenomenon that became the focus of research. On the basis of it can be started that the overall appearance of Diana Damrau is interconnected to build on the builder’s point to make the appearance of Diana Damrau towards spectaculer.

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Kumar Chopra, Pradeep. "MODERN TECHNIQUE OF INNOVATION PLATFORM IN SINGING MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3436.

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Music is a medium that binds both the seeker and the listener under a hypnosis, but there are some limits to the sound of a human being, and as far as his sound goes naturally, it is effective only in that, Hence recording is called dead music. In the old times, what used to be stage in music had some limitations, only that many people could benefit from it, as far as the sound of the seeker (musician / player) can reach. But it is true that at that time the power of man (physically) was more than that of man today. Evidence of this is found in ancient texts like Ramayana, Mahabharata etc. So it is a simple matter that the voice of the man of that time would also be more effective than the man of today. But he also had limitations. But today, where science has made so much progress, today's stage has also become very influential, in which the modern instruments used are very powerful, the instruments available to artists are so effective, that they listen to the programs presented by them. Is able to reach that way. संगीत एक ऐसा माध्यम है, जो साधक और श्रोता दोनों को एक सम्मोहन मंे बाँध कर रखता है, पंरन्तु मनुष्य की ध्वनि की कुछ सीमायंे होती है, और जहाँ तक उसकी ध्वनि प्राकृतिक रूप से जाती है, वहाँ तक ही वह असरदार सिध्द होती है, इसलिए रिकाॅर्डिंग को मृत संगीत कहा जाता है । पुराने समय मे संगीत में जो, मंच होता था उसकी कुछ सीमायें थी, उससे सिर्फ उतने ही लोग लाभ उठा पाते थे, जहाँ तक साधक (संगीतकार/ वादक) की ध्वनि पहुॅंचें । परन्तु यह बात सही है, कि उस समय मनुष्य की शक्ति (भौतिक रूप से ) आज के मनुष्य की तुलना में ज्यादा होती थी । इसके प्रमाण रामायण, महाभारत आदि प्राचीन ग्रंथो में देखने को मिलते है । तो यह सीधी सी बात है कि उस समय के मनुष्य की आवाज भी आज के मनुष्य की अपेक्षा ज्यादा असरदार होती होगी । पर उसकी भी सीमायंे थी । पर आज जहाँ विज्ञान ने इतनी उन्नति की है, वही आज का मंच भी बहुत प्रभावशाली बना है, जिसमें उपयेाग होनेवाले आधुनिक यंत्र अत्यधिक शक्तिशाली है, कलाकारांे को मिलने वाले यंत्र इतने प्रभावशाली होते हैं, कि वह उनके द्वारा प्रस्तुत कार्यक्रमों को श्र¨ताअ¨ तक वैसे को वैसा पहुॅचाने में सक्षम है ।

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Dissertations / Theses on the topic "Singing technique"

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Detwiler, Gwendolyn Coleman. "Solo Singing Technique & Choral Singing Technique in Undergraduate Vocal Performance Majors: A Pedagogical Discussion." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1226948715.

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Detwiler, Gwendolyn Coleman. "Solo singing technique & choral singing technique in undergraduate vocal performance majors a pedagogical discussion /." Cincinnati, Ohio : University of Cincinnati, 2009. http://www.ohiolink.edu/etd/view.cgi?acc_num=ucin1226948715.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.
Advisors: Barbara Honn M.M. (Committee Chair), Barbara Paver M.M. (Committee Member), Brett Scott D.M.A. (Committee Member). Title from electronic thesis title page (viewed April 25, 2009). Includes abstract. Keywords: voice; choral; choir; vocal; pedagogy; vocal pedagogy; choral pedagogy; music; music education; undergraduate. Includes bibliographical references.

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Guastaferro, D. Domenic. "The coup de glotte in vocal technique and pedagogy /." Access Digital Full Text version, 1989. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10857862.

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Thesis (Ed.D.) -- Teachers College, Columbia University, 1989.
Sponsor: Harold Abeles. Dissertation Committee: Lenore Pogonowski. Typescript; issued also on microfilm. Bibliography: leaves 117-121.

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Sethson, Mea. "The Alexander Technique for a singing actor." Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-84849.

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Abstract This thesis examines the postural effects of Alexander Technique training on a classical singer. The aim was to see how working with an Alexander Technique instructor would improve my singing. I have been taking lessons in Alexander technique on a weekly basis and practicing Alexander technique for approximately an hour each day. I have conducted an interview with singer and longtime Alexander technique practitioner, Anne Cecilie Røsjø Kvammen. I have talked to my physiotherapist, Carl Colliander, about pain linked to a tight psoas muscle. Four songs were memorized and recorded two times, once in December and once in April. The recordings were analyzed, first by me and then by Barbro Olsson, Alexander technique instructor. I found that my alignment has generally improved and, as a result, my head position has become more stable. I have become better at managing stress during performances. The enhanced awareness of alignment has helped me make more successful choices in the practice rooms. It also has made me better at interpreting my singing pedagogue’s instructions during lessons. Additionally I have less pain, especially in the neck area.

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Pearson, Kathy Shay. "The Alexander Technique and Body Mapping : a strategy for voice teachers and choral directors /." Link to full text, 2009. http://epapers.uwsp.edu/thesis/2009/Pearson.pdf.

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Thesis (M.M.E.)--University of Wisconsin--Stevens Point.
Submitted in partial fulfillment of the requirements of the degree Master of Music Education in Studio Vocal Pedagogy. Includes bibliographical references (leaves 39-41).

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Engelhart, Robert James. "An electromyographic study of preparatory set in singing as influenced by the Alexander technique." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1240663537.

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Englehart, Robert James. "An electromyographic study of preparatory set in singing as influenced by the Alexander Technique /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487668215805728.

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Unadkat, Shreena. "Group singing for couples where one partner has a diagnosis of dementia." Thesis, Canterbury Christ Church University, 2015. http://create.canterbury.ac.uk/13855/.

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There is an emerging interest in the literature base around the use of group singing in dementia care. Although studies indicate positive outcomes, limited research has been carried out from a relational perspective. Additionally, theoretical underpinnings of the reported benefits have yet to be explored. This study aims to investigate the key theoretical mechanisms underlying the experience of group singing. Interview data from seventeen couples who sing together in a group is analysed using grounded theory method. Several key aspects of group singing are presented, namely that the positive experience of the act of singing combined with effective group facilitation enables equal participation and a powerful group effect. A further benefit of new learning and creativity is explored. Implications for clinical practice and possible directions for future research are outlined.

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Heaton, Emily Mullins. "Formant Changes in Amateur Singers After Instruction in a Vowel Equalization Technique." Diss., CLICK HERE for online access, 2010. http://contentdm.lib.byu.edu/ETD/image/etd3527.pdf.

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Cioromila, Mariana Doina Herzberg 1952. "A inspiração no canto erudito : um estudo sobre sequências de ações geradas pelo controle mental permanente resultando em eficiência inspiratória." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284417.

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Orientador: Eduardo Augusto Ostergren
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-20T10:23:58Z (GMT). No. of bitstreams: 1 Cioromila_MarianaDoinaHerzberg_D.pdf: 7056269 bytes, checksum: 7f5e920472f228d94644e7d36d0f5b42 (MD5) Previous issue date: 2011
Resumo: A técnica vocal é uma ferramenta poderosa na construção de um instrumento tão complexo como a voz! Estudar técnica vocal é um caminho que deve ser trilhado, sem que se possa evitá-lo, por todos aqueles que querem estudar canto. O trabalho ora apresentado expõe os resultados de uma pesquisa efetuada com o objetivo de facilitar o ato de inspiração de ar no canto erudito. Uma pesquisa como esta se justifica e, certamente, poderá contribuir para o segmento do canto lírico, sobretudo na área acadêmica. Em busca de uma fundamentação teórica que nos ajude a trazer conclusões para a nossa pesquisa, destacamos uma bibliografia selecionada e adequada aos nossos propósitos. Todavia esta seleção, como não podia deixar de ser, também é limitada. Contudo essa limitação é proposital, tendo em vista não constituir objetivo deste trabalho esgotar a bibliografia pertinente ao tema em questão. Destacamos também a experiência e a pesquisa pessoal desta autora, que nos trouxe ao pensamento conceitual próprio ao que está sendo oferecido pelos cantores e estudiosos do canto lírico. Para fundamentar nosso trabalho, pesquisamos alguns livros de cantores de música erudita e professores de canto, tais como: Lilli Lehmann, Lucien Manén, Franzisca Martinessen-Lohmann, Hilde Sinnek, Harald Stamm, Jon Piso, Paulo L. Moreira, e outros de profissionais da saúde ou médicos que estudaram as questões da voz, como Whitaker. Mostraremos as partes de Anatomia Humana, que confirmam a importância de cada parte do corpo e buscamos explorar ao máximo essa potencialidade desenvolvendo uma sequência de ações conscientes a serem executadas no momento da inspiração para cantar. Colocamos desenhos que vêm apoiar, visualmente, as nossas propostas. Mostramos em dois desenhos de anatomia humana, esta sequência de movimentos que defendemos. E por fim, usando como estudo de caso o papel de Adalgisa, analisaremos dois duetos da Opera Norma de Bellini, demonstrando a aplicação prática dessa sequência pré-determinada e consciente de movimentos no ato de inspiração para o canto erudito, sugerindo, em especial um modo de inspirar o ar para as frases mais longas
Abstract: A vocal technique is a powerful tool when constructing a very complex instrument such as the voice. Studying vocal techniques is a path that must be accomplished without being avoided by whoever wants to study singing. The work presented on this thesis contains a research carried out aiming to make the act of air breathing in easier in the erudite singing. A research like this justifies and, certainly, will be able to contribute to lyrical singing, especially in the academic area. Searching a theoretical foundation which helps us bringing conclusions to our research, we highlight the convenient and specified bibliography (but consciously limited), the experience and personal research that brought to our own conceptual thoughts about what is being offered by singers and students of lyrical singing. To be able to found our work, we have searched among others, books from erudite music singers and singing teachers such as: Lilli Lehmann, Lucien Manén, Franzisca Martinessen-Lohmann, Hilde Sinnek, Harald Stamm, Jon Piso, Paulo L. Moreira, or doctors who study the voice matters such as Whitaker
Doutorado
Praticas Interpretativas
Doutor em Música

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Books on the topic "Singing technique"

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Kohli, Didier. "Mâle-traité" de technique vocale: Sexe et voix. [Genève]: D. Kohli, 1998.

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Koster, Ré. The commonsense of singing: Some reflections on technique, performing and repertoire. Mt. Morris, N.Y: Leyerle Publications, 1990.

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Rosenberg, Marci Daniels. The vocal athlete: Application and technique for the hybrid singer. San Diego, CA: Plural Publishing, Inc., 2014.

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Kenneth, Tom, ed. One voice: Integrating singing technique and theatre voice training. Portsmouth, NH: Heinemann, 2003.

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Cope, Jonathan. How to 'khöömei' and other overtone singing styles. [Great Britain]: Wild Wind & Sound for Health, 2004.

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

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Mark, Jordan James, ed. Group vocal technique. Chapel Hill, N.C: Hinshaw Music, 1991.

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Hanhart-Nérini, Maya. La voie du chant: Guide technique et artistique. [Paris?]: Zurfluh, 1995.

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Breaking through: From rock to opera : the basic technique of voice. 2nd ed. Milwaukee, WI: Hal Leonard Corp., 2001.

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González, Marilyn M. Choir care: Building sound technique. New York, N.Y: American Guild of Organists, 1993.

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Book chapters on the topic "Singing technique"

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Yu, Hung-Ming, Wei-Ho Tsai, and Hsin-Min Wang. "A Query-by-Singing Technique for Retrieving Polyphonic Objects of Popular Music." In Information Retrieval Technology, 439–53. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11562382_34.

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Taylor, Brian. "Poetic Technique and the Liberal Arts in the Lay Schoolroom: The Singschule (‘Singing School’) of the German Mastersingers of the Fifteenth and Early Sixteenth Centuries." In Disputatio, 391–410. Turnhout: Brepols Publishers, 2013. http://dx.doi.org/10.1484/m.disput-eb.1.100301.

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Usula, Nicola. "«La forza del naturale tradotta dallo spagnolo»: su un’ignota riscrittura italiana de La fuerza del natural di Agustín Moreto e Jerónimo de Cáncer a Vienna." In Studi e saggi, 381–98. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.23.

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Among the manuscripts in Italian kept in the National Library of Vienna, a comedy in prose of Spanish derivation has recently come to light, hitherto neglected by theatrological and Hispanistic studies. The title page of the booklet declares at the beginning the nature of the content with a laconic "La forza del naturale translated from Spanish », which identifies the text as a translation and revision of La fuerza del natural by Agustín Moreto and Jerónimo de Cáncer (perhaps with the collaboration of Juan de Matos Fragoso), probably composed between 1644 and 1654 and printed for the first time in 1661. Where and when was written the text passed down by the Viennese witness? Was it imported from Italy or written beyond the Alps? Finally, is it possible to trace the exact hypotext starting from the twenty sources known today of the Spanish comedy? This study answers these questions and sheds light on the adaptation techniques that emerged from the comparison between the Italian text and its Spanish hypotext, also by taking into account the elements relating to music distributed throughout the comedy: dances, singing and musical instruments on stage.

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Wistreich, Richard. "Reconstructing pre-Romantic singing technique." In The Cambridge Companion to Singing, 178–91. Cambridge University Press, 2000. http://dx.doi.org/10.1017/ccol9780521622257.016.

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Miller, Richard. "Diction and Vocal Technique." In On the Art of Singing, 26–27. Oxford University Press, 1996. http://dx.doi.org/10.1093/acprof:osobl/9780195098259.003.0006.

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Miller, Richard. "The Technique of Marking." In On the Art of Singing, 165–67. Oxford University Press, 1996. http://dx.doi.org/10.1093/acprof:osobl/9780195098259.003.0052.

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Miller, Richard. "The Choral Conductor as Teacher of Vocal Technique." In On the Art of Singing, 58–63. Oxford University Press, 1996. http://dx.doi.org/10.1093/acprof:osobl/9780195098259.003.0019.

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Baker, Michael. "Motives and Motivations." In Singing in Signs, 73–104. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190620622.003.0004.

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A broad survey of Britten’s compositional output reveals a predilection toward linkage technique––the carrying over of pitches from the end of one phrase or segment to form the beginning of the next. Whereas linkage can be found in many genres, Britten frequently employs this technique in his operas to depict certain aspects of a character’s thoughts and motivations, either spoken or unspoken, as the drama continues to unfold on stage. Consideration of musical texture reveals three typical uses: (1) accompaniment linkage between the vocal melody and the instrumental accompaniment, (2) interlude linkage between vocal phrases separated by an intervening instrumental interlude, and (3) character linkage between the music sung by different characters in an opera. Consideration of linkage has practical implications for performers, directors, and choreographers, who may use insights gained through score analysis to craft a staged, gestural interpretation at moments of linkage.

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Miller, Richard. "Let’s Build a Straw Man! (The Technique-versus-Artistry Debate)." In On the Art of Singing, 248–49. Oxford University Press, 1996. http://dx.doi.org/10.1093/acprof:osobl/9780195098259.003.0081.

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Samuel, Jamuna. "Twelve-Tone Serial Techniques in Dallapiccola’s Il prigioniero as a Reaction to Fascist Ideology." In Singing in Signs, 13–44. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190620622.003.0002.

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Dallapiccola’s Il prigioniero embodies a connection between political protest and musical technique. The composer’s specific use of dodecaphonic serialism can be interpreted as a reaction to Fascist ideology. Through an analytical narrative from three complementary angles, this chapter highlight how the music carries dramatic and ideological meaning. First, it explores a network of 12-tone rows and combinations projecting specific sounds and gestures acquiring and bestowing meaning through associations, disassociations, and re-associations with text and characters. Second, it investigates the role of “theatrical words,” tracing how word-music dyads develop reciprocal meanings and how individual, detached components lend momentum to the psychological drama. Third, it shows moments of overlapping meanings in which semantically filled musical motifs and/or text phrases combine to create a subplot of motives—an inner action displayed by the music in counterpoint with the drama.

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Conference papers on the topic "Singing technique"

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Abadi, Kartika Nenda, and Yudi Sukmayadi. "Interactive Media Design to Train Basic Singing Technique for Kindergarten Students." In 3rd International Conference on Arts and Design Education (ICADE 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210203.069.

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Yamamoto, Yuya, Juhan Nam, and Hiroko Terasawa. "Deformable CNN and Imbalance-Aware Feature Learning for Singing Technique Classification." In Interspeech 2022. ISCA: ISCA, 2022. http://dx.doi.org/10.21437/interspeech.2022-11137.

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Nose, Takashi, Misa Kanemoto, Tomoki Koriyama, and Takao Kobayashi. "A style control technique for singing voice synthesis based on multiple-regression HSMM." In Interspeech 2013. ISCA: ISCA, 2013. http://dx.doi.org/10.21437/interspeech.2013-104.

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Luo, Yin-Jyun, Chin-Cheng Hsu, Kat Agres, and Dorien Herremans. "Singing Voice Conversion with Disentangled Representations of Singer and Vocal Technique Using Variational Autoencoders." In ICASSP 2020 - 2020 IEEE International Conference on Acoustics, Speech and Signal Processing (ICASSP). IEEE, 2020. http://dx.doi.org/10.1109/icassp40776.2020.9054582.

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Dogan, Sait Melih, and Ozgul Salor. "Music/singing voice separation based on repeating pattern extraction technique and robust principal component analysis." In 2018 5th International Conference on Electrical and Electronic Engineering (ICEEE). IEEE, 2018. http://dx.doi.org/10.1109/iceee2.2018.8391386.

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Andrade-Miranda, Gustavo, Nathalie Henrich Bernardoni, and Juan Ignacio Godino-Llorente. "A new technique for assessing glottal dynamics in speech and singing by means of optical-flow computation." In Interspeech 2015. ISCA: ISCA, 2015. http://dx.doi.org/10.21437/interspeech.2015-491.

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Virmando, Eri, and Sapja Anantanyu. "The Effect of Nutritional Education Through Singing and Card Game Technique on Fruit and Vegetable Intake in Children." In Mid-International Conference on Public Health 2018. Masters Program in Public Health, Universitas Sebelas Maret, 2018. http://dx.doi.org/10.26911/mid.icph.2018.02.25.

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Li, Jing. "Application of National Opera Singing Techniques on Vocal Music." In 2016 International Conference on Economy, Management and Education Technology. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemet-16.2016.80.

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Lin, Shih-Chieh, Chien-Hsing Chou, Ming-Feng Ke, Shu-Han Liao, Yen-Hung Lin, and Chiu-Pin Kuo. "Appling Artificial Intelligence Techniques on Singing Teaching of Taiwanese Opera." In VRST '22: 28th ACM Symposium on Virtual Reality Software and Technology. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3562939.3565650.

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Lee, S. W., Zhizheng Wu, Minghui Dong, Xiaohai Tian, and Haizhou Li. "A comparative study of spectral transformation techniques for singing voice synthesis." In Interspeech 2014. ISCA: ISCA, 2014. http://dx.doi.org/10.21437/interspeech.2014-536.

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