Annotated Bibliography for Vocal PedagogyBozeman, Kenneth W. “The Role of the First Formant in Training the Male Singing Voice.” Journal of Singing 66/3 (January/February 2010), 291-297.This source contains information specifically discussing the natural adjustments of the vocal registration of a male in the head voice to the chest voice, as well as the importance of the mastery of the male passaggio. The author discusses the different types timbral shifts and other acoustic factors that independently have prominent roles in the adjustments made in the male voice. The author also gives exercises and examples with his explanation to show how to master such an art of smoothly transitioning from the chest voice up through the passaggio and to the head voice in males. As a female vocal pedagogue this is very beneficial to understand how the male voice works. I can utilize the vocalises included in this article to function as a way to diagnose issues and help change as well as to allow my male student, whenever I may have one to successfully sing beautifully and efficiently.
Miller, Richard. “In the Beginning: The Genesis of the Art of Singing.” Journal of Singing 66/1 (September/October 2009), 45-50.This source discusses the history of the anatomy of the larynx and why humans are ideally constructed for phonation. The author discuses and compares humans to animals as far as the function of their (the animal’s) phonation and their functions for it. He also discusses the location and precision of the parts of the larynx, therefore explaining their purpose for phonation and how we as humans manipulate it. As a pedagogue I can use this information to show students in a particular way how and where parts of their larynx are and how we as humans use them for phonation. Also the scientific information about animals would, for some students, possibly bring a metaphor to get them to understand and grasp a concept.
De’Ath, Leslie. “Text Rendering in Eighteenth Century Recitativo Secco.” Journal of Singing 65/5 (May/June 2009), 577-593.This source discusses diction through recitatives in the eighteenth century opera. The author of this article goes in depth of the history of how the sounds were stressed and the differences in given sounds today. He spends time discussing the Italian stressed syllables in the opera recitatives as well as how to phonate these syllables in time with the given rhythm to interpret the song beautifully. He also discusses connecting consonants in the Italian language. I can use this article information to demonstrate to my student the stress placed on Italian vowels and why in order to get them to execute their diction of the given song properly. This can deem challenging with some double syllable consonants that happen on the same vowel, yet with the given information of the given era of music, I, as a pedagogue can better
Michele Bielke
Level: M
Date: August, 2008
Published: August 8,2008
Abstract: The classical study in the recited text of the nineteenth century of Spanish language recitatives is very interesting. This is a subject of particular interest to those looking to interpret the lyrics and to understand the structure of an opera. This article takes aim at some contemporary use cases because the recited text will always be at the center of the study. I include examples of a few examples from the twentieth century that I found interesting and also share some interesting information. This gives me a great opportunity to review my work on the recited text. If you do not know a few common recitatives, or if you just want to see how you can use this article, I highly recommend to follow my website. < p>It was through this site that I first found the term “Recitivo” for the German in the second century. It was a well documented practice in the first century. This can be understood as a common form of use. Many composers used the term recitivo as an adjective that they were known to use when reciting the text, with their own styles or musical uses. In other words composers that they wanted to emphasize used the word recitivo in their music.
In addition to the practice of creating a formal and systematic type text, to avoid ambiguity, it should be remembered that all works by a composer and all musical work by an individual may take precedence over those that do not.
These distinctions may be difficult or difficult to see, both with the composer’s voice and with the music-reciting method. This is not to say that those who think that these problems should be solved with a different approach are naive.
This article focuses on the recited text. This document also covers a few of the composers involved, some of which have been asked to recitivo. More information is available on the composers of some of these works through here.
Since the second century, in order to understand this type of language a musician and a composer must be able to identify one and the same recitivo phrase. In this piece, I have given a framework for understanding and applying different recitatives to musical pieces in the second century. This article assumes that the recitatives used can be identified with what they say. This approach will not be able to identify each and every phrase with the same meaning, especially considering the context of recitivities in the musical work. In other words, I will just treat the musical works of some of the composers responsible for various recitivations at the same time, to make the identification of what songs are related more clear.
This section is divided into a couple sections that can be viewed as a synthesis. This has two parts by one. < p>In the first section, the author demonstrates the approach for each recitivo and introduces some notes. Since this is a common topic, I will cover each one in more detail.
In the second part, the composers of certain recitivations present various patterns and variations. In this section you find the best techniques for solving the problem of what one might see in the recited text.
In the third part, the composer describes examples a few in which he has used the recitive and the negative. The third section describes some of the composers that he has used over the years.
In the fourth part, the composer tells me that the recitivo “is often used when it