Vol 2 Issue 2012

VOCAL CREATIVITY BETWEEN DATA AND EMOTION

11. November, 2013|2012, Vol 2 Issue 2012|No comments

Anca Doina CIOBOTARU

Abstract:  The human universe emerges through sound, breath, emotions, the feelings intensity materializes in multiple, varied, nuanced sonorities. Human history, as well as the personal history of each of us can be described as a chain of sound ways.

This study is focused on the often circumvented issues of the inadequate risk – including both actor and sizes of the aesthetic spectacle. The stage saying can be imagined as the phrase of the human voice meeting, breathing and silence, which means the proximity of the expression resources, according to their speech-silence report, through an interdisciplinary approach.

The awareness of the necessity of doubling the creative tumult of understanding the inner remains that spring beyond any interpretative technique. The lucidity brings a touch of sparkle to the act of creation; the technique coupled with emotional intelligence determines the expression – the sound universe does not deviate from these unwritten rules, but essential for the world scene.

Keywords:  voice, stage performance, theater, animation, technique, emotion.

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THE CONTEMPORARY ACTOR’S VOICE AND LIMIT SITUATIONS

11. November, 2013|2012, Vol 2 Issue 2012|No comments

Alina VLĂSCEANU

Abstract: There are no set ways, no magic cure to treat our attitude towards the artist act. Working with the ineffable itself brings paradoxical events, the need to adapt to the actor’s creative process, pushes him to treat the inability to react to dangerous situations with treatments that often have nothing in common, with the emotional diagnosis. The two universal forces, Philotes and Neikos cause the actor to be consumed in order to create via logos a bridge between themselves and others.

The actor’s voice must move and urge to action suitable to be shown: “if we are to talk briefly about the power of the word, we will find that nothing of what thoughts have conceived would not exist, if it hadn’t been for the word. The word is the guide to all the necessary facts and thoughts and those who are wiser are keen on using the word.”

The voice of the contemporary actor is that of the man in the street, nothing unusual, nothing sophisticated. The limit situation occurs when we are trying to express strong emotions: the simpler the speech and more natural, the better trained must the voice be, continuously trained through daily exercises.

The effort of the contemporary actor to train his  character’s voice, even if it is entirely different from that of the classical actor, he must have the same rigor and conscientiousness. The contemporary actor is a borderline situation, the numbing of his senses is psychopathological, as he is assaulted by a multitude of situations, and its position on the scene can hardly be distinguished from that of everyday life. However theater is not life and then we have to involve our body and especially our voice that shows a special inner universe where the character finds a special place.

If the art and art people today overlook speech impairments, the voice, however, must be heard, the sound is the most important because only with its help we, the actors on stage, tell the story that hasn’t been told, yet.

Keywordsvoice, word, contemporary, emotion, actor, borderline.

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THE VOICE OF SILENCE – A WAY OF EXPRESSION IN THE ACTOR’S ART

11. November, 2013|2012, Vol 2 Issue 2012|No comments

Remus VLĂSCEANU

Abstract:  Silence is the preopinence of everything, above all. The foremost interpreter of all times is the very Heavenly Providence Itself. In the Genesis of The Holy Scripture we find that in the beginning there was silence. The whole Univers is conceived in secrecy and limits; all was invented by spiritual craft.

Frecquently, people don’t know how to consider the language, in its artistic meaning, as one who, in a way or another, should put the speaking in the service of art. When it’s about voice, one can have always the same  experience as in the case of poetry and another few works. Almost nobody would have the idea to take place at the piano and play, if he/she didn’t strive to prepare the necessary premises. Nevertheless, there is a general tendency to believe that everybody can write poetry and everybody can speak as it has to. One couldn’t get rid of imperfections in this area and so much the less can be brushed aside the general insatisfaction of actors regarding the fact that, in order to speak, one need as well a previous  training as in the case of performance of music.
In fact, where lies in the human being the starting point of the voice? As Steiner has it, the voice doesn’t start directly from the self, but the voice has its start in the astral scheme. This is a point of view that should be payed respect to, if one desire to reach to the art of shaping the speech în an artistic way, up to the sound alone, as in the current daily speaking the sound takes shape completly at the back of one’s mind. But things should happen so that this subconscious ascend to awareness, if it is to get the speaking out of the non-artistic territory and rise it to the artistic sphere.

The speaking didn’t start at all from that kind of speaking used today colloquially, even less the writing derived from the present writing. As well, the voice doesn’t take rise from our present speaking, which includes all  kind of conventional things or things belonging to the  knowledge, but voice lives in man in an artistic form.

Keywordsvoice, silence, sound, performance, actor.

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CRYSTALLIZATION OF OPERA GENRE A RESULT OF A LONG MUSICAL PRACTICE AND THE FLOURISHING OF THE CULTURE IN THE 15TH – 16TH CENTURIES

11. November, 2013|2012, Vol 2 Issue 2012|No comments

Crinuţa POPESCU

Abstract: The real opera has its origins in the sacred performances of the 15th century and the pastorals of  the 16th century, which, in their turn, were influenced by the antique creations

Keywords: Florentine camerata, opera, sacre representazione, Renaissance.

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STYLISTIC ASPECTS OF THE VOCAL MUSIC IN BAROQUE

11. November, 2013|2012, Vol 2 Issue 2012|No comments

Ioan ARDELEAN

Abstract:  Baroque is the era where there is a profound shift and decisive musical technique, developing an art voice whose task is the expression of human emotions. The present conference deals with aspects of vocal music in the Baroque style.

The Italian model and the Italian singing schools in 1600 gradually became mandatory for almost all Europe, the Italian singers being technically superior to all others, spread to all the European courts.

In Baroque books and singing textbooks, we find a lot of detailed stylistic guidance in relation to the technique of singing data, which are quite low. Certain aspects of Baroque style are difficult to understand and require knowledge of other related disciplines in period and rhetoric, dance, gesture. Both vocal and instrumental art will be governed by laws borrowed from the rhetoric in an attempt to codify and systematize the passions expression.

In the evolution of the Baroque vocal art, the science of affects has a deep and unitary root in the perception structure as affection and whose active correspondent is that vital and receptive euphoria that the vocal art disposes. It is to science that deals with the feelings and emotion motility that moves the souls and that was the focal point of the theoretical debates in Baroque music.

Keywords: Baroque, vocal art, articulation, Canto Fermo, Canto pasegiato, decoration, science of affects, rhetoric, da capo area, manners, cadences, gesture.

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MEANINGS OF VOCAL EXPRESSIVITY IN MUSICAL DRAMA

11. November, 2013|2012, Vol 2 Issue 2012|No comments

Anda TĂBĂCARU HOGEA

Abstract:  Within the development of the lyric genre, musical logic pursued the sense of the word, the relation between the word and the sound becoming, in opera music, the main nucleus of musical drama analysis, in the context of knowing the epochs, styles and schools that had generated them. The shaping in the musical frame of the psychological climate of the characters has been realized by opera composers within the triad music-text-plot, and by singers, within the frame of vocal expressivity development. Vocal expressivity can be defined as a blend between vocal technique, voice quality and the art of acting, being the result of a profound analysis of the performer, orchestra conductor and director on the relationship between word, musical phrase and stage action. In the opera development as genre, vocal expressivity constantly remains the main means of exploitation of musical drama that all score belonging to the lyrical genre contains.

Keywords: vocal expressivity, musical drama, lyrical performer, vocal technique.

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THE HUMAN VOICE QUALITY IN THE INTERPRETATION OF THE ROMANIAN FOLK SONG

11. November, 2013|2012, Vol 2 Issue 2012|No comments

Claudia MARTINICĂ

Abstract:  The human voice is one of the most beautiful gifts we receive from God. How we know to value these gifts depends on our skill, talent and perseverance to rise to expectations. It takes but vocation too and everything that comes from God and that can lead you to discover unexpected treasures. That is how I have discovered the richness of the Romanian folk song, of course using my voice that I was gifted with and which I knew to put to good use.

In each and everyone of us God has planted something, but the important thing is to know to cherish what we receive as a gift and never forget that we must seize everything that was given to us because otherwise it would be a sin, and we would not manage to fulfill ourselves.

Keywords: God, tradition, treasure, but vocation.

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LONGEVITY IN SINGING

11. November, 2013|2012, Vol 2 Issue 2012|No comments

Ana STAN-SLUSAR

Abstract: In the art of music, human singing is the most complex and perfect musical instrument. Voice quantity is the product of a whole vocal apparatus. Singing is breathing. Knowing how to sing is directly related to the know how to serve your breathing. Three laws governing mechanism vocal tract: a functional unity law enforcement vocal tract, law enforcement functional solidarity vocal tract and overall health, law automatism acoustic-vocal tract. For professional singer, and potentially maintain good vocal tone depends on vocal hygiene. “A singer should not sing only with the voice and soul, but with reason. To be  able to spend only <interest> not <capital>. Only then we can lead to vocal longevity” said the great singer Mihail Arnautu.

Keywords: singing, breathing, impostatia, hygiene voice training.

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FROM SCREAM TO CANTABILITY, THE HUMAN VOICE IN ITS ASCENSION TO THE LYRIC ART SHOW

11. November, 2013|2012, Vol 2 Issue 2012|No comments

Leonard DUMITRIU

Abstract: Great Caragiale smiles in his beard when he has to speak on the topic “What is art ?” and finds explanations that can be understood by the heart, not by the brain.

The voice serves to humans as the main communication meaninig. By singing, man transmits feelings that animates him, experiences that he tries. In order to become expressive, the voice need long years of training.

The mankind evolution included the human voice evolution, its ascension on the improvement road. From
the ocasional musical acts, the humanity get refined, kings and nobles arrive to compete in pompous show, where the sung voice acquires the status of Prima Donna. Opera is the supreme music genre, that combines all modes of artistic expression.

To reach perfection, the opera singer leads often a wrenching life, from the period of studies until the retirement from stage. The efforts are rewarded by satisfactions to which many dream, but few live them fully. The human voice can reach by effort and sacrifices to the artistic sublime.

Keywords: Caragiale, human voice, cantability, vocal technique, sensitivity.

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THE RELEVANCE OF THE PSYCHOPATHOLOGICAL SEMIOLOGY A VOICE IN BUSINESS SPEECH THERAPY

11. November, 2013|2012, Vol 2 Issue 2012|No comments

Adriana Elena CRĂCIUN, Mihaela Lavinia CHIRILĂ

Abstract: In today’s inter-and transdisciplinary context, speech therapy claims its double state of the art and science of language education, in its many forms of manifestations. Speech therapist’s concerns converge to vocal register, the support element of speech, song, cry, crying or laughing. On this scale, the speech therapy specialist is interested in understanding the physiological mechanism of anatomical phonation in deciphering voice ethiopathology, of its therapy and equally, of the patient knowledge through “voice print”.

The value of psychopathological voice semiology, in speech therapy activity, was addressed through a relational hexadic systemic model that in an X-ray structural approach to speech therapy voice disorders, led to the identification of sixteen actionable ways of the psychopathological semiology assessment of phonation.

Keywords: speech therapy – the art and science of language education, systemic approach, hexadic relational speech therapy, psychological significance of voice, pathological significance of voice, voice print.

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