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vocal-performance-practice

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Journal Articles
19th-Century Music. 2014; 3813–29 doi: https://doi.org/10.1525/ncm.2014.38.1.003
Published: 01 July 2014
... Tadolini in 1842, I ultimately suggest that this case study recalibrates our understanding of the relationship between authorial intentions and local performing traditions. © 2014 by the Regents of the University of California 2014 Donizetti Tadolini Vienna vocal performance practice authorial...
Journal Articles
19th-Century Music. 2015; 383219–242 doi: https://doi.org/10.1525/ncm.2015.38.3.219
Published: 01 March 2015
... stage. That theatrical declamation was Wagner's point of departure when he created his works and became forgotten some decades after his death due to profound changes in theatrical performance practice. © 2015 by the Regents of the University of California 2015 Wagner Die Meistersinger...
Journal Articles
19th-Century Music. 2019; 432121–139 doi: https://doi.org/10.1525/ncm.2019.43.2.121
Published: 01 November 2019
... imaginations in the vocal tract occur mainly in singers and music lovers who often sing a little as a habitual accompa- nying feature. 31 The main outcome of such investigations was that in mediated judgment, practice and judgment related in accidental ways. The run-of-the-mill music lover associ- ated...
Journal Articles
19th-Century Music. 2019; 43161 doi: https://doi.org/10.1525/ncm.2019.43.1.61
Published: 01 July 2019
... journal- ism and media studies, virtuosity and celebrity, and historically informed performance and cre- ative practices. Her research has been supported by a CUNY Dissertation Year Fellowship and the Elizabeth C. Bartlet grant from the American Musicological Society, and her work has appeared in Piano...
Journal Articles
19th-Century Music. 2019; 4313–16 doi: https://doi.org/10.1525/ncm.2019.43.1.3
Published: 01 July 2019
... it as a parallel to the kind of instrumental slow move- ment that was so highly valued, especially the type that imitated vocal music. This view would have required a very slow tempo, or per- haps a tradition of slow performances prompted the analogy to the instrumental adagio. Either way, the...
Includes: Multimedia, Supplementary data
Journal Articles
19th-Century Music. 2019; 43117–37 doi: https://doi.org/10.1525/ncm.2019.43.1.17
Published: 01 July 2019
... age when the perception of virtue in a female performer was difficult to elicit, difficult to maintain, and easy to lose. (As an aside: I have sung these variations many times, in character. The moment of vocal unveiling, when I leave my normal falsetto production and plunge into the chest voice...
Journal Articles
19th-Century Music. 2019; 423157–183 doi: https://doi.org/10.1525/ncm.2019.42.3.157
Published: 01 April 2019
..., or think speculatively about the performance consequences of par- ticular songs for hypothetical voices: Barbara Turchin, Schumann s Conversion to Vocal Music: A Reconsideration, Musical Quarterly 67/3 (1981): 392 404; David Gramit, Lieder, Listeners, and Ideology: Schubert s Alinde and Opus 81...
Journal Articles
19th-Century Music. 2019; 423184–224 doi: https://doi.org/10.1525/ncm.2019.42.3.184
Published: 01 April 2019
... incoherence and difficulties. It seems to me that one can combine the demands of art with the demands of the time and, taking advantage of the refinement of instruments and performance practice, write compositions that communicate differently both to connoisseurs and to the ordinary public.1 1Mikhail Glinka...
Journal Articles
19th-Century Music. 2018; 42273–95 doi: https://doi.org/10.1525/ncm.2018.42.2.73
Published: 04 December 2018
... scientific practices, and the architectural feat of writ- ing (including activities of selection and narra- tivization). History thus functions as a kind of performative substitute for the past expressed on the terms of the present. For de Certeau, history and anthropology are united not only by these...
Journal Articles
19th-Century Music. 2018; 4213–29 doi: https://doi.org/10.1525/ncm.2018.42.1.3
Published: 01 July 2018
... classes they highlight occupy an interstitial void between identity and diver- gence, information and redundancy, fidel-ity and duplicity. The values ascribed to this space reflect the multiplicity of sources and editions of Chopin s music as well as historical shifts in performance practice and its...
Journal Articles
19th-Century Music. 2018; 42153–70 doi: https://doi.org/10.1525/ncm.2018.42.1.53
Published: 01 July 2018
... other contemporary lis- teners insofar as full operatic productions were a rarity; his encounters with Wagner s works primarily entailed the domestic performance and study of piano-vocal scores and libretti, alongside the experience of selected excerpts in miscellaneous concerts. Although he portrayed...
Journal Articles
19th-Century Music. 2018; 413206–224 doi: https://doi.org/10.1525/ncm.2018.41.3.206
Published: 01 March 2018
... from the String Quartet in D, Der Gondelfahrer (choir and piano), Die Nachtigall (vocal quartet with piano), and Nachthelle (solo, choir, and piano). A-Wgm Programmsammlung, 19 November 1850. 19A-Wgm Programmsammung, 25 November 1853, Musikverein. 20The performed songs were grouped into pairs as...
Journal Articles
19th-Century Music. 2018; 413183–205 doi: https://doi.org/10.1525/ncm.2018.41.3.183
Published: 01 March 2018
... CENTURY MUSIC translation.32 Jungmann unsuccessfully tries to persuade Marek to translate into Czech Le nozze di Figaro and promises to send a vocal score with Italian and German texts as well as an Italian libretto. The Czech version of Così fan tutte by S ír shows, furthermore, that although the...
Journal Articles
19th-Century Music. 2017; 412151–179 doi: https://doi.org/10.1525/ncm.2017.41.2.151
Published: 01 November 2017
... fantasia, recitatives, a lyrical ballad, and orchestral variations, with impressionistic symphonic writing, and experimental passages. While stylistic heterogeneity can be heard throughout many of his mature instrumental and vocal works, Busoni also used this heterogeneity in a descriptive way in Doktor...
Journal Articles
19th-Century Music. 2017; 412121–150 doi: https://doi.org/10.1525/ncm.2017.41.2.121
Published: 01 November 2017
... provides an armature on which the violinist may practice the twenty bowing pat- terns given in the previous étude, nor does he consider how the performer could imbue such patterns with coherence in the course of perfor- mance.38 In short, he overlooks nontextual means of joining unity with variety...
Journal Articles
19th-Century Music. 2017; 41295–120 doi: https://doi.org/10.1525/ncm.2017.41.2.95
Published: 01 November 2017
... sublime were no longer rhetorical, but precisely Kantian. James Webster, The Creation, Haydn s Late Vocal Music, and the Musical Sublime, in Haydn and His World, ed. Elaine Sisman (Princeton: Princeton University Press, 1997), 64 66. 50Mark Evan Bonds, The Symphony as Pindaric Ode, in Haydn and His...
Journal Articles
19th-Century Music. 2017; 41131–47 doi: https://doi.org/10.1525/ncm.2017.41.1.31
Published: 01 July 2017
...- era lacks the vocal showpieces Gayarre s pub- lic came to hear, and audiences left Lohengrin lamenting, What a shame for Julián, employed 19All performance statistics are compiled from the Appen- dix to Joaquin Turina Gomez, Historia del Teatro Real (Madrid: Alianza, 1997), except where noted. 20As...
Journal Articles
19th-Century Music. 2017; 4113–30 doi: https://doi.org/10.1525/ncm.2017.41.1.3
Published: 01 July 2017
... worked on Schlesinger s piano-vocal scores and other arrangements for both works between 1840 and 1842, and wrote nothing short of a eulogy for La reine de Chypre in Bericht über eine neue Pariser Oper (La reine de Chypre von Halévy Abend-Zeitung [Dresden], 26 and 29 Janu- ary 1842. 37Guilliaume (1825...
Journal Articles
19th-Century Music. 2017; 41148–74 doi: https://doi.org/10.1525/ncm.2017.41.1.48
Published: 01 July 2017
... vocal work into the symphonic poem. Chausson began work on Viviane in earnest in the summer of 1882. He worked out the melody Gallois labels the love theme or the fairy s call (appel de la Fée) on the reverse side of the same sketchbook on a page signed and dated Paris Vincennes / Juillet 82. 18...
Journal Articles
19th-Century Music. 2017; 403283–300 doi: https://doi.org/10.1525/ncm.2017.40.3.283
Published: 01 March 2017
... histori- cal practices a continuity of performance hab- its. Although, as mentioned, the voices that sing Frühlingsfeier today may be larger, the way in which they interpret the music...