Vol 1 Issue 2012

THE SPECTACULAR VOICE

7. November, 2013|2012, Vol 1 Issue 2012|No comments

Silvia OSMAN

Abstract: The ideal – spectacular voice of the teacher exhorts and urges to admiration and respect; his/her voice has a formidable intellectual honesty and totally lacks complacency; his/her moral altitude takes your breath away, bringing everything up to the height of his/her incontestable value. The ideal teacher’s voice is never neutral and could never be so. The true teacher learns to dissociate the spirit from the letter, then, through his/her own discourse, succeeds on bringing the letter to a painful and/or uplifting alchemic metamorphosis. He or she can catch a glimpse of the “higher” world through the deformed lens of the tough and nevertheless majestic century we are living in today, daring the abyss from its edge, and waiting to grow wings, while launching out to conquer it. Mirrored in a century filled with all kinds of hallenges, the teacher’s voice can instigate and provoke. It bites. It incites and troubles. It burns. Maybe this amalgam of acerbic relentlessness of his/her profound human voice, the exploring passion of free research and the serendipitously oriented discovery are what intrigue and impress me the most. The ideal – spectacular voice of the teacher can be both whisper and roar. And maybe it should be so, to be able to raise awareness and shake crooked foundations, sometimes taken for granted.

Keywords: voice, spectacular, metamorphosis, moral altitude, amalgam, creativity.

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PERFORMANCE AND ART IN SINGING – “Sabin V. Drăgoi” INTERNATIONAL CONTEST OF VOCAL INTERPRETATION, Timisoara, Romania

7. November, 2013|2012, Vol 1 Issue 2012|No comments

Ioana M. IUGA

Abstract: For the young lyrical interpreters, the contest has been and will continue to be one of the most important “exams” in the beginning of their career. Such a checking cannot be but benefic for the followers of Orpheus trained in the vocal music schools all over the world, the more so that, now, in the XXIst century, words like “competition” and “competitivity” represent a must of any domain of the human life. Initiated at the border between the XXth and the XXIst centuries, the “Sabin V. Drăgoi” International Contest of Vocal Interpretation, Timisoara, Romania, is an original and complex manifestation, by the nature of the repertoire imposed by its organizers, for the three distinct stages on which it is structured, by the professional manner of promoting classical Romanian music and by the young promising voices whose value expects recognition.

Keywords: vocal music contest, lyrical interpreter, vocal interpretation, interpretative style, repertoire

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PARTICULAR ASPECTS OF THE COLORATURA VOCAL TECHNIQUE

7. November, 2013|2012, Vol 1 Issue 2012|No comments

Simona D. NEGRU

Abstract: Coloratura in the voice line, of an imposed or improvising character, is a defining element of the style of works composed between the XVIth and XIXth centuries. Its realization requires, on the one hand, special features (according to some authors, innate) doubled by an exceptional technical level. This ability to play virtuosic passages embraces over the centuries different forms of expression closely related to the text words meaning, as well as to the nature of music and movement (in the sense of tempo), all of these being conditioned by the emotions and feelings transmitted. Analyzing from a diachronichistorical point of view the developments of agility passages concepts, one finds several elements that cross, red thread-like, all ages: pharyngeal articulation, vocal tract flexibility and mobility, the joint diaphragm. That which brings novelty to the present study is the set of personal conclusions we have reached from our research regarding the customizing way of the technical execution for each mentioned stylistic periods, leading to distinct vocality stances.

Keywords: voice agility, Baroque, Bellini, Rossini

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CONTEMPORARY PERSPECTIVES IN THE FORMING OF SUNG AND SPOKEN VOICES

7. November, 2013|2012, Vol 1 Issue 2012|No comments

Ada BURLUI, Georgeta PINGHIRIAC

Abstract: The evolution of the word-sound-music relationship implies new visions, requires new correlation using the unusual experiences of the twentieth century, up to the present. Spectacular aspects related to the language of extra-textual realities appear and relevant new technical procedures are discovered in the melodic trajectory. The study of the human voice, its formation, depend on the anatomical and psychological constitution and on the material and spiritual conditions in which the young man developed; the health condition of the organism, the integrity of the nervous and endocrine systems, the strength of the muscle tone.

Very often a small voice can become big through the normal use of suspension, the relaxation of the larynx and the correct use of the resonators. The canto professor must find the organ that has altered the sound, the incorrect labour of the larynx, the tongue, the position of the jaw, of the face, lips and diaphragm and he has to fix the problem.

Here are the most important warnings about very serious voice disorders: chronic roar, veiled voice appeared systematically as a result of the long hours of study, tiredness in the spoken voice, abundant mucus or frequent dry throat, painful voice broadcasting, the appearance of vocal pauses in the sung and spoken voice, the appearance of a quaver in voice which normally doesn’t exist.

At the level of our consciousness, emotionally speaking, music represents the contrasting tension between two or more sounds occurring successively or simultaneously and it determines particular states of vibrational interference with a complex action on the human body, as the supreme expression of the accumulated cultural potential.

Keywords: glottis explosion, labial vestibule, laryngeal constriction, Sprechgesang, subglottis pressure, energetic potential.

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THE VOICE IMPOSTATIA IN THE CHORAL SINGING

7. November, 2013|2012, Vol 1 Issue 2012|No comments

Mariana POPESCU

Abstract:  Impostatia is one of the fundamental problems for the voice,both sung and spoken. Choral singing is done with the same technical principles relating to the emission’s singing voice, breathing, intonation, tuning, diction, flexibility, expressiveness, phrasing. A particular aspect is the mixing of voices, which takes place within the party and in the ensemble.

The primary role of the choir conductor is to build himself one vocal apparatus having a particularly important contribution in shaping and strengthening it, in order to achieve a sound architecture worthy of the beauty of the choral music. It is necessary the conductor has a good training in the vocal singing field without which he will not be able to fulfill its mission to form a voice device to represent him. As a conductor, you cannot claim totheoretically master the secrets of impostatia, if you cannot even practically perform the soundsimpostatia. …

Keywords: choral singing, impostatia voice, human voice, vocal technique.

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A SOPRANO VOCAL EXPRESSION THE ROLE FLORIA TOSCA

7. November, 2013|2012, Vol 1 Issue 2012|No comments

Doina DIMITRIU URSACHE

Abstract:  The soprano holds in the whole Puccinian opera the protagonist role, her privileged position imposing her the faithful observance of all indicated compositional writing. The singer is asked awhole arsenal both technical and expressive vocals as well as a native predisposition on the nature of the role that it will embody, forcing her into a highly complex and difficult score, requiring special theatrical ambitions, highlighted by a safe and efficient performance.

The verist timbre the role in question included(Floria Tosca), requires a malleable voice in a continuous way, involving outside sounds sung as well as those existing at song border. The substantiatial creative act takes place only in the context of prior technical training grounds, both in terms of broadcasting and voice placement and their transposition into believabledramatic situations.

Vocal technique is one of the fundamental points regarding the study and implementation of a conclusive character work, and in our case, the knowledge and mastery emission mechanisms are the starting point of the whole process of deepening.

Keywords: Puccini, Tosca, soprano, technical, voice.

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SIMPLICITY AND NATURALESNESS IN VOCAL TECHNIQUE

7. November, 2013|2012, Vol 1 Issue 2012|No comments

Mihaela GRĂJDEANU

Abstract:  The teacher’s role as a guide and coach to develop a correct vocal technique. Recovery and improvement of the voice by re-educating breathing and a correct phonation. Exercises for breath training. Arching, reinforcing, dosage. Correction of faulty vibratto. Chest voice and head voice, solving the passages, falsetto, homogenization of registers. Conscious singing. Vocalizes to correct reinforcing. Psychology in canto – to sing is easy. Being natural is the key to performance in canto.

Keywords:  canto, simplicity, naturalness, arching, dosage, costo-diaphragmatic breathing, vocal longevity.

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SPRECHGESANG, SYNTHESIZER SOUND EFFECTS BETWEEN THEATER AND LYRICAL PERFORMANCE

7. November, 2013|2012, Vol 1 Issue 2012|No comments

Nelida NEDELCUŢ, Vlad Tudor ENIU

Abstract:  The contemporary poetic claims various requirements of musical expression, bringing into attention new possibilities and performance techniques, and this is a result of the composers’ desire to obtain from voices effects and diverse timbral colors.

We are witnessing a considerable broadening of the goal of vocal writing, which calls for the deployment of techniques reserved once only to instruments. This trend is visible from the first reading of a score when we find problems such as: the maximum extension of registers  specific to each voice category, difficult configurations of intonation and rhythm and various vocal emission requirements, requiring a prior rigorous work for the elaboration of sonorities.

Keywords: sound effect, speech, sung/singing voice, contemporary music. 

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HUMAN VOICE. EXPRESSION AND EXPRESSIVENESS

7. November, 2013|2012, Vol 1 Issue 2012|No comments

Florenţa MARINESCU

Abstract:  Human voice is an atypical instrument, assuring high performance of lyrics, as a communication means among people, as well as an element for transmitting certain artistic messages, by means of the word, in the field of dramatic art and film.

However, its maximum efficiency is undoubtedly the expressiveness attained through singing, especially classical vocal singing.

This is the main reason why specialists all over the world attempted at raising this physical condition of the individual to the rank of art, emotion, civilization and culture. The phenomenon includes hundreds and hundreds of years of history of music, along which the masters of lyrical art created, in their schools and artistical and aesthetic currents, genuine universal values of mankind.

This represents an inciting stimulus for a true artist, and especially for a master forming his students, to approach the necessary decodings with interest and abnegation, so that the art of singing should be considered according to precise rules and techniques, and recognized as such.

Voice is a divine gift, while the voice of a singer is the instrument of gods.

Keywords: expression, expressiveness, singing voice, speaking voice, cultivated emission lyrical artist, actorinterpreter. 

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ON THE PSYCHOLOGY OF THE ARTISTIC VOCAL VIBRATION

7. November, 2013|2012, Vol 1 Issue 2012|No comments

Alexandru BOUREANU

Abstract:  In this paper I have followed a series of principles regarding the theatre as the art of uttering. I have considered appropriate to describe the art of speech from a philosophycal, technical and practical point of view, trying to add to actor’s art the need for an ongoing exercise with oneself, with one’s thought and one’s words, to the end of experimenting always new parts and scene situations as brilliant as can be.

Keywords: uttering, voice, vowels, intensity.

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