Academic literature on the topic 'Vocal duets Analysis, appreciation'

Most gibbon species produce salient duet calls at daybreak. Duets start with low frequency barks by males, followed by the female great call, and end with a short, and often complex, male-dominated coda. The female great call itself typically climaxes via a crescendoing increase in pitch, tempo, or both and characteristically features bilaterally symmetrical parabolic structures, which can manifest both in the distribution of vocal units over time as well as in frequency. Male codas appear to anticipate and even complete many of these female-initiated parabolas. Employing spectrograms of species-typical great calls from nearly all gibbon species ( n = 12), I plotted coordinates of the upper-most frequency of each vocal unit. Using these x = time and y = frequency coordinates (plus x-differences), I tabulated the parabolas with the best possible second order polynomial fits for each species’ great call. Measures of parabolic fit for each call were then compared to quantitative locomotor estimates for each species. All forms of parabolic assessment had positive correlations with leaping bout percentages across species. These results indicate that gibbon duets may function to signal a fundamental understanding of parabolic shapes—presumably useful in landing airborne locomotor (especially leaping) bouts spanning canopy elements—enabling concordant execution of arboreally projectile acrobatics.

AbstractWe report on long-range duet interactions among twelve wild groups of lar gibbons (Hylobates lar) in Thailand. Statistical analysis demonstrates that groups were more likely to respond with an answering duet to a duet sung by a neighbouring group than to one sung by a non-neighbouring group in the population. A distinctive pattern of response among neighbours was to wait until a neighbouring group had finished its duet before immediately answering with a duet, resulting in avoidance of overlap between the two duets. Non-neighbours did not exhibit this pattern. The effect is shown to be due solely to neighbour status and not to the degree of mutual audibility of the duets. There was no evidence that, when duets overlapped, the first group to sing modified the length of its duet in response to the second duet, whether given by a neighbour or by a non-neighbour. In general, among those groups which responded to one another's duets, there were no identifiable leaders and followers: the order of duetting groups was random. We discuss why neighbours interact more by duet than do non-neighbours, and consider what may be the functions of avoiding overlap of duets.

Abstract Abstract. We provide the first detailed analysis of the vocal behavior of Pacific coast Plain Wrens (Thryothorus modestus modestus). Male Plain Wrens sing two categories of song phrase; one phrase is given as a solo song or duet introduction (I-phrases), while the other is sung primarily during duets (M-phrases). Females sing only one category of song phrase, usually during duets (F-phrases). Both sexes have repertoires of their respective song categories. Plain Wren duets show extreme temporal coordination: duets typically begin with male I-phrases, which are followed by the rapid alternation of female F-phrases and male M-phrases. These patterns are congruent with the solo and duet singing behavior of a sister taxon to the Plain Wren, the Canebrake Wren (Thryothorus modestus zeledoni). Our analyses of Plain Wren songs and duets reveal pronounced differences between males and females and contribute to our understanding of the complex duetting behavior of Thryothorus wrens.

Bird vocalizations might be used for specific recognition, territorial defense, and reproduction. Bioacoustic studies aim to understand the production, propagation and reception of acoustic signals, and they are an important component of research on animal behavior and evolution. In this study we analyzed the sound structure of duet vocalizations in pairs of Myiothlypis leucoblephara and evaluated whether the vocal variables differ among pairs and if there are differences in temporal characteristics and frequency of duets between pairs in forest edges vs. forest interior. Vocalizations were recorded from 17 bird pairs in three remnants of Atlantic Forest in southern Brazil. Six of the bird pairs were situated at the edge of the forest remnant, and 11 were in the interior of the remnant. The duets of different pairs between forest areas showed descriptive differences in the frequency, number of notes per call, and time between issuance of calls, with the main distinguishing feature being a change in frequency of a few notes in the second part of the musical phrase. The minimum frequency of vocalization was reduced at the private area than in the other two remnants (p <0.05). The duets of birds in the forest edge and forest interior did not significantly differ in minimum or maximum frequency of phrases (p> 0.05), phrase duration (p> 0.05) or number of notes per phrase (p> 0.05). Myiothlypis leucoblephara did not show a specific pattern with respect to issue of phrases in duets, but instead showed five different patterns, which were variable among pairs. There was a sharp decline or alternation in frequency between notes in the second part of the musical phrase for recognition among pairs. Variation in vocalization among M. leucoblephara duets may play a role in pair recognition.

Many groups of animals defend shared resources with coordinated signals. The best-studied of these signals are the vocal duets produced by mated pairs of birds. Duets are believed to be more common among tropical-breeding species, but a comprehensive test of this hypothesis is lacking, and the mechanisms that generate latitudinal patterns in duetting are not known. We used a stratified sample of 372 songbird species to conduct the first broad-scale, phylogenetically explicit analysis of duet evolution. We found that duetting evolves in association with the absence of migration, but not with sexual monochromatism or tropical breeding. We conclude that the evolution of migration exerts a major influence on the evolution of duetting. The perceived association between tropical breeding and duetting may be a by-product of the migration–duetting relationship. Migration reduces the average duration of partnerships, potentially reducing the benefits of cooperative behaviour, including duetting. Ultimately, the evolution of coordinated resource-defence signals in songbirds may be driven by ecological conditions that favour sedentary lifestyles and social stability.

Long-range vocal communication in socially monogamous titi monkeys is mediated by the production of loud, advertising calls in the form of solos, duets, and choruses. We conducted a power spectral analysis of duets and choruses (simply “duets” hereafter) followed by linear discriminant analysis using three acoustic parameters—dominant frequency of the combined signal, duet sequence duration, and pant call rate—comparing the coordinated vocalizations recorded from 36 family groups at 18 sites in Bolivia, Peru and Ecuador. Our analysis identified four distinct duetting patterns: (1) a donacophilus pattern, sensu stricto, characteristic of P. donacophilus, P. pallescens, P. olallae, and P. modestus; (2) a moloch pattern comprising P. discolor, P. toppini, P. aureipalatii, and P. urubambensis; (3) a torquatus pattern exemplified by the duet of Cheracebus lucifer; and (4) the distinctive duet of P. oenanthe, a putative member of the donacophilus group, which is characterized by a mix of broadband and narrowband syllables, many of which are unique to this species. We also document a sex-related difference in the bellow-pant phrase combination among the three taxa sampled from the moloch lineage. Our data reveal a presumptive taxonomic incoherence illustrated by the distinctive loud calls of both P. urubambensis and P. oenanthe within the donacophilus lineage, sensu largo. The results are discussed in light of recent reassessments of the callicebine phylogeny, based on a suite of genetic studies, and the potential contribution of environmental influences, including habitat acoustics and social learning. A better knowledge of callicebine loud calls may also impact the conservation of critically endangered populations, such as the vocally distinctive Peruvian endemic, the San Martin titi, P. oenanthe.

AbstractA new species of tyrant flycatcher (Suiriri islerorum) is described from the cerrado region of Brazil and adjacent eastern Bolivia. The species previously had been confused with Suiriri suiriri affinis, with which it is syntopic at multiple sites. The new species was first identified by voice. Although cryptically similar to S. s. affinis in many respects, the new species is readily identified by all vocalizations, bill size, color pattern of the tail, and shape of the central rectrices. Most distinctive are the male–female duets, which are accompanied by dramatic wing-lifting displays not performed by any congeners. Reciprocal playback experiments of tape-recorded vocalizations demonstrated that the new species and S. s. affinis do not respond to one another's vocalizations. We provide information on the natural history of the new flycatcher, along with spectrograms of its various vocalizations. We also provide vocal analysis of all other named taxa in Suiriri, and discuss the various intrageneric relationships. In particular, S. s. affinis and S. s. bahiae, although distinct morphologically, are vocally and behaviorally similar, and respond to one another's vocalizations in playback experiments.

Background. In 2018, the 170th anniversary of the death of Gaetano Donizetti (1797–1848) was commemorated. G. Donizetti created 74 operas of various genres and themes. He was the head of the Italian opera school in the second half of the 1830s, picking up the baton from G. Rossini and V. Bellini and anticipating G. Verdi’s searching. Having an apparent melodic gift, excellent skills of composing, knowledge of musical theatre, he created his works extremely quickly and easily – up to 3–4 operas per year, which caused repeated critical attacks. Opera works by G. Donizetti got a hard futurity. This music laid hold of audience in the 1830s–40s, but practically got out of the repertoire by the end of the 19th century, giving way to the masterpieces by G. Verdi and R. Wagner. Its revival began in the 50s of the 20th century, thanks to remarkable interpretations of great performers, in particular Maria Callas, Joan Alston Sutherland, Montserrat Caballé (since 1965), and others. A new success of opera masterpieces arose due to the fact that performing concepts restored the original author’s conception. Among the researchers and listeners, G. Donizetti’s operatic works eclipsed other spheres of his creativity, such as instrumental and chamber vocal music. But at the same time, G. Donizetti lived in the times of the widespread distribution of the romance, and the rapid growth of its popularity in the amateur and professional performing environment. He was an outstanding expert of vocal music and could not ignore this genre. Naturally there is a need for a more attentive approach to such a little-studied topic, as the composer’s chamber vocal music. Objectives. Gaetano Donizetti’s chamber-vocal creativity is the object of this study. The subject is the song cycle “Summer Nights in Posillipo” (“Nuits d’été à Pausilippe”) in terms of individual composer style. The objectives of offered article are not so much fi ll existing gaps on this issue, as taking a closer look at the romance genre, which is eclipsed by the composer’s opera compositions. The author of this work uses classical methods of analysis of historical and theoretical musicology. Results. Studies on the composer style of G. Donizetti in the Russian and Ukrainian languages are very limited in both quantitative and thematic terms. Most sources, including in other languages, consider opera works by the composer. The exact number of Donizetti’s romances is still unknown (from 250 to 270). The song cycle “Nuits d’été à Pausilippe” / “Summer Nights in Posillipo” (1836), consisting of 12 songs, is also not considered in the scientifi c literature. Typical for the fi rst third of the 19th century is the chronotope of this cycle, in which the poetics of the geographical toponym and the symbolism of the night are combined. Posillipo is a distinctive place in the northern part of the Gulf of Naples, with its unusually picturesque landscape and artifacts of ancient culture. The name of the song collection by G. Donizetti corresponds to the popular literature formula of the 1830s – “Florentine Nights” (1833) by H. Heine, “Egyptian Nights” (1835) by A. S. Pushkin, and others, in which the genre of the “night” novelistic cycle embodied. The musical implementations are “Night Pieces” op. 23 (1839) by R. Schumann, song cycle “Summer Nights” op. 7 (1841) by G. Berlioz, which were created in the period of composition writing (1836) by G. Donizetti. The novella-like character of “Summer Nights in Posillipo” is represented by incompleteness of lyric utterance, free alternation of fragments within the boundaries of a given topic, the variability of timbre solutions, varied choice of authors of poetic texts. Six solo numbers (Nos. 1–6) are supplemented by six duets for various timbre sets (Nos. 7–12, for 2 sopranos, soprano and mezzo-soprano, soprano and tenor, tenor and bass). The poems by four poets of Romanticism are involved: Leopoldo Tarantini (Nos. 1, 8, 10, 12), Carlo Guaita (No. 2), Michele Palazzolo (Nos. 7, 11), Francesco Puoti (No. 9), Victor Hugo (No. 6). Also the poems of the anonymous poet (No. 3) and the folklore text (No. 5) are used here. The cycle is “multilingual”, the Italian language coexists with the Neapolitan and French. The love theme prevails. We can talk about creation of a poetic-collective image entitled Homo amore. Solo songs (Nos. 1–6) form conditional self-contained cycle, which is distinguished by genre diversity. This is evidenced by both the designations of the composer himself (Barcarolle – No. 1, Romance – No. 2, Arietta – No. 3, Ballade – No. 4, Neapolitan song – No. 5), and signs of other genres (opera monologue – No. 1, Chivalric romance – No. 2, Serenade – No. 3, Alba – No. 6). The second little cycle is formed by the duets Nos. 7–12. The composer designates Nos. 7–11 as nocturne, while Nos. 12 as brindisi, or drinking song. G. Donizetti’s nocturnes are glad and lyrical, motile, virtuosic, theatrically spectacular. Life and earthly pleasures are glorifi ed in sounding. The atmosphere of a brilliant ball evening is felt here. The unifying factor in duets are the principles of the texture organization of vocal parts. The fi rst one is associated with the interaction of voices-parts with each other according to the principle of anti-phoning singing (Nos. 7, 9, 11). The second principle is associated with the simultaneous sounding of two voices (Nos. 8, 10, 12). The role of intonation relatedness at the songs is signifi cant. The thematism of twelve songs can be divided by the type of melodic core. As a result, there are three groups: I – themes Nos. 1, 2, 5, 8, 10; II – Nos. 3, 6; III – duets Nos. 7, 9. Conclusions. The applying of the “intonation vocabulary” of the epoch is refl ected in numerous allusions between the melodies of the romances by G. Donizetti and the works of his contemporaries (M. Glinka, F. Schubert) and successors (R. Hahn). The biggest interest is the composer work with the form. Acting within the framework of the repeatability (melodic and structural) and stanza form, G. Donizetti seeks to overcome this necessity in every possible way by various means. The structure of his romances “lives”, naturally unfolds in time, obeying the laws of vocal music. The results of “Summer Nights in Posillipo” analysis allow us to conclude about the originality of G. Donizetti’s creative decisions in the genre of romance.

Music performance belongs to music recreation activities, is through singing, musical instrument performance, and vocal conductor, including a variety of artistic means, to convey music to the audience with real sound effects that can be felt, and can play its social function. Emotional state is a part of the whole attitude, which is consistent with introverted feelings and intentions in attitude, and is a complex and stable physiological evaluation and experience of attitude in physiology. This paper first introduces the concepts of music performance from the perspective of music appreciation and music ability. Then based on the emotional feature learning of matrix factorization constrained nonnegative matrix factorization and model optimization algorithm are used to analyze the emotional aspects of music. Finally, through the experimental comparison of the difficulty of emotion in various artistic creations, a conclusion is drawn. The research involves matrix decomposition, mathematical modeling, model optimization, digital audio technology application, and other fields. In the third part of this paper, the constrained nonnegative matrix factorization, the constrained nonnegative matrix factorization with external information, and the model optimization algorithm are used to study the mathematical modeling.

The purpose of this study is to explore the literature for textless voice and woodwind instruments. The primary focus concerns the timbral and ensemble possibilities exploited in three twentieth-century works in which the voice is treated as an instrument i.e., without the usual preoccupation with textual meaning. An historical overview of vocal works with obbligato woodwinds and concerted works for textless voice serves as an introductory chapter. The variables of voice and instrument acoustical makeup, vocal vowel formation and instrumental voicings, volume, vibrato, resultant tones, range, and extended techniques (fluttertongue, special vibrato demands, non-vibrato, etc.) are the focus of the performance considerations for this study. Over thirty twentieth-century textless works for voice and at least one woodwind instrument were located. The three, chosen for this study represent different periods in the century, and present contrasting styles and musical merit: Aria (1931) by Jacques Ibert, Three Vocalises (1958) by Ralph Vaughan Williams, and Duos I (1976) by Nancy Chance. A style and performance analysis of these works with pertinent research on the composers is presented. Appendices include an annotated bibliography of selected works for the medium, a written interview with Nancy Chance, and performance notes provided by the composer, concerning Duos I.

Orientador: Sara Pereira Lopes
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente dissertação investiga a corporalidade do cantor em cena. O trabalho estuda possibilidades expressivas do canto e sua relação com a pedagogia da voz. O eixo que direciona o trabalho é a constituição da pesquisadora enquanto cantora e professora de canto e a (im)possível relação dialógica entre essas duas posições. Partindo de uma retrospectiva das referencias musicais da pesquisadora, a discussão do arcabouço bibliográfico e teórico contrapõe-se à problematização empreendida no segundo capítulo quanto à performance. Desse modo, intenta-se ressaltar os efeitos do entendimento da performance sob a perspectiva conceitual de Zumthor, o que resultou na ressignificação da experiência da pesquisadora como cantora e professora. A vivência da preparação vocal de um grupo de 11 cantores indicia tais efeitos. As considerações que fecham o trabalho partem da certeza de que não há respostas prontas, porém reelaboram algumas das idéias que podem permitir uma continuidade nas investigações, apontando para a indissociabilidade entre corpo e voz
Abstract: The present dissertation investigates the singer's body on stage. The work studies expressive possibilities in singing, and their connection with vocal pedagogy. The axis which orients the work is the researcher's constitution as a singer and teacher, and the (im)possible dialogical relationship between these two. Starting from a retrospective of the researcher's musical references, the discussion of the theoretical and bibliographic structures are collated with the performance as problematized in the second chapter. Thus, this study intends to stress an understanding of performance according to Zumthor's perspective, which resulted in a re-signification of the researcher's experience as a singer and teacher. An experience with the vocal coaching of a group of 11 singers, indicate such effects. The final considerations which close the work, though implying there are no ready answers, elaborate some ideas which might allow continuity for this research, pointing to the indivisibility between body and voice
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Artes Cenicas
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María Grever (1885-1951) overcame racism and gender bias during a pivotal era in American music history to become the first commercially successful Mexican female composer and more specifically, a pioneer of popular music during the first half of the 20th century. Though named the "Madonna of song," her legacy is largely overshadowed by other compositional giants of the era, such as the Gershwin brothers, Cole Porter, and Irving Berlin. Grever's music is sophisticated, heartfelt, and worthy of attention. Her colorful, genuine music adds distinctiveness and variety to recital programs. Grever's songs offer a high level of musical integrity and socio-cultural value. Incorporating her compositions into a singer's vocal repertoire is an excellent way to broaden the scope of styles and languages while maintaining the highest standards of musical study. The following document considers the importance of performing and studying Grever's music by analyzing nine songs representing three compositional periods. I evaluated the songs considering pedagogical benefit, performance value, and significance to her overall oeuvre.

by Ho Tsz-Yan, Rebecca.
Thesis (M.Mus.)--Chinese University of Hong Kong, 1998.
Abstract also in Chinese.
Chapter Part I: --- p.page
Chapter ´Ø --- Abstract --- p.1
Chapter Part II:
Chapter ´Ø --- "Analysis on ""Conversation""" --- p.3
Chapter ´Ø --- """Conversation"" (Full Score)" --- p.6
Chapter ´Ø --- "Analysis on ""Dark Haze´ح" --- p.25
Chapter ´Ø --- """Dark Haze"" (Full Score)" --- p.28
Chapter ´Ø --- "Analysis on ""San-Shui Xi-Nan""" --- p.65
Chapter ´Ø --- """San -Shui Xi-Nan"" (Full Score)" --- p.69
Chapter Part III：
Chapter ´Ø --- Biography --- p.119

by Lai Boon Tsing Joseph.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1994.
Includes bibliographical references (leaves 212-214) and discography (leave 215).
Chapter Chapter 1 --- Introduction --- p.1
Chapter Chapter 2 --- The Development of I. Stravinsky's Word- setting Philosophy --- p.8
Chapter Chapter 3 --- The Word-setting of Threni: id est Lamentationes Jeremiae Prophetae (1957/58) --- p.29
Chapter Chapter 4 --- "The Word-setting of A Sermon, a Narrative and a Prayer (1960/1)" --- p.70
Chapter Chapter 5 --- The Word-setting of Abraham and Isaac (1962/3) --- p.102
Chapter Chapter 6 --- Comparison of the Word-setting of the Three Selected Passages --- p.137
Chapter Chapter 7 --- Conclusion --- p.156
Appendices --- p.162
Bibliography --- p.212
Discography --- p.215
List of Appendices
Appendix I THRENI: The metric placement of the normally-stressed syllables --- p.162
Appendix II THRENI: The metric placement of the normally-unstressed syllables --- p.168
Appendix IIIA THRENI: Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody --- p.175
Appendix IIIB THRENI: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody --- p.178
"Appendix IV THRENI: The treatment of the ultimate syllable of a phrase, clause or sentence" --- p.180
"Appendix V A SERMON， A NARRATIVE AND A PRAYER, II A NARRATIVE: Table of monosyllabic sung- words showing their stressed or non- stressed identity" --- p.182
"Appendix VI A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The metric placement of the normally-stressed syllables" --- p.185
"Appendix VII A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The metric placement of the normally-unstressed syllables" --- p.187
"Appendix VIIIA A SERMON， A NARRATIVE AND A PRAYER, II A NARRATIVE: Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody" --- p.189
"Appendix VIIIB A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody" --- p.190
"Appendix IX A SERMON, A NARRATIVE AND A PRAYER,II A NARRATIVE: The distribution of all syllables stressed by all means" --- p.191
Appendix X ABRAHAM AND ISAAC :The metric placement of the normally-stressed syllables --- p.195
Appendix XI ABRAHAM AND ISAAC: The metric placement of the normally-unstressed syllables --- p.199
Appendix XIIA ABRAHAM AND ISAAC : Normally-unstressed syllables that are accentuated resulting from an ascending leap in the melody --- p.204
Appendix XIIB ABRAHAM AND ISAAC: Normally-stressed syllables that are accentuated resulting from an ascending leap in the melody --- p.206
"Appendix XIIIA A SERMON, A NARRATIVE AND A PRAYER, II A NARRATIVE: The distribution of normally-stressed monosyllabic words" --- p.208
"Appendix XIIIB A SERMON, A NARRATIVE AND A PRAYER,II A NARRATIVE: The distribution of normally-unstressed monosyllabic words" --- p.210