Download or read book A Graduate Vocal Performance Recital written by Jiayin Kong and published by . This book was released on 2016 with total page 31 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book A Graduate Voice Recital written by Alexandra Flinn-Vivas and published by . This book was released on 2015 with total page 7 pages. Available in PDF, EPUB and Kindle. Book excerpt: At 5:30 p.m. on the sixth of April, 2015, Alexandra Flinn-Vivas presented her graduate recital in vocal performance. The recital was sung at the University of Florida Music Building in room 101. The performance was accompanied by pianist Katherine Plympton and also featured Soprano Samone Hicks. The repertoire selected reflected different musical time periods and songs were sung in English, Italian, French, and German. Handel's Hence, Iris Hence Away was performed along with Gluck's Che farò senza Euridice. Ici-bas, Chanson d'amour, and Au cimétiere by Fauré were also featured along with two of Brahms' German lieder and Strauss' Chacun à son goût from Die Fledermaus. Gerald Finzi's song cycle was also a part of the program and the recital ended with Ms. Hicks and Ms. Flinn-Vivas singing Mozart's comical duet See, Here, Dorabella from Cosi Fan Tutte. The recital reflected different attitudes, musical styles, and required vocal agility as some pieces had coloratura while other songs were filled with intense drama and long sustained notes. Vocal technique, breath control, and artistic interpretation were all necessary elements incorporated to fulfill the demands of executing each song successfully.

Download or read book Graduate Vocal Performance written by Krista Sarah Boone and published by . This book was released on 2008 with total page 186 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book Program Notes for a Graduate Recital in Vocal Performance written by Kristina M. Mathieson and published by . This book was released on 2006 with total page 118 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book Program Notes for a Graduate Recital in Vocal Performance written by Jennifer Coffman and published by . This book was released on 2010 with total page 70 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book A Graduate Voice Recital written by Cammie Jo Smallwood and published by . This book was released on 2013 with total page 19 pages. Available in PDF, EPUB and Kindle. Book excerpt: On March 16, 2013 I presented a vocal recital as a requirement for the degree of Master of Music in Vocal Performance. The works performed in the recital covered several languages and musical time periods. The recital began with “When I am laid in earth,” the climactic mezzo-soprano aria from Henry Purcell's opera Dido and Aeneas, and continued with a set of three German Romantic lied: Der Tod, das ist die kühle Nacht, Auf dem Kirchhofe, and Von ewiger Liebe, all composed by Johannes Brahms. Before the conclusion of the the first half, there was a set of two Henri Duparc art songs: Chanson Triste and Lamento, followed by the aria “Mon coeur s'ouvre à ta voix” from Camille Saint-Saëns's opera Samson et Dalila. The second half consisted of two sections with selections taken from the song sets Seven Elizabethan Lyrics by Roger Quilter and Tre Liriche by Ottorino Respighi. The final piece was “Stride la vampa!” from Giuseppe Verdi's opera Il trovatore. The variety of repertoire on the recital allowed me to demonstrate several aspects of vocal technique that I have mastered, including proper breath support, vowel placement, projection, diction, language study, musicality, and agility. For example, while “Nebbie” from Tre Liriche and “Stride la vampa!” are both in the Italian language, they have considerable stylistic differences. “Nebbie” is an art song with dramatic, sweeping melodic lines and stark dynamic contrasts that follow the characterization of the poetry. “Stride la vampa!” tells a horrific story as the character longs for vengeance for mother and sinks into insanity; all these emotions are reflected in the triple meter and dotted rhythms. Studying both pieces allowed me to further my technique and understanding of performance as a craft.

Download or read book Graduate Vocal Performance and Pedagogy Recital Document written by Abigail F. Corbett and published by . This book was released on 2013 with total page 162 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book A Graduate Voice Recital written by Clary Alexandra Román and published by . This book was released on 2014 with total page 14 pages. Available in PDF, EPUB and Kindle. Book excerpt: At 11:00 AM on April 5, 2014, Ms. Román presented a vocal recital as a requirement for the degree of Master of Music in Vocal Performance. The works performed represented several musical time periods and languages. The recital opened with a German language song cycle for bass or alto and piano by Johannes Brahms titled Vier ernste Gesänge. Following the German set, the English language songs were introduced by the aria Must the winter come so soon? from Samuel Barber's opera Vanessa. It continued with three 20th century English songs, The Desire for Hermitage, Solitary Hotel, and A green lowland of Pianos, by the same composer, which ended the first half of the recital. The second half of the recital consisted of a combination of Italian, French, and Spanish songs representing a wide variety of vocal techniques from long, flowing phrases, that require proper use of breath control, to fast-paced patter that requires vocal agility. A Wolfgang Amadeus Mozart aria, Parto, ma tu ben mio from the opera La Clemenza di Tito, commenced the second half of the recital. Followed by the French duet Sous le dôme épais, more commonly known as The Flower Duet, from the opera Lakmé by Léo Delibes. The duet introduces the French portion of the recital, leading to three more songs in the same language. The duet was followed by three French art songs by Henri Duparc, Chanson triste, Le manoir de Rosemonde, and Soupir. Following the French set was the aria Stride la vampa! from the opera Il Trovatore by Giuseppe Verdi. The recital is finalized with Canción de la gitana, a romanza from the zarzuela La alegría del batallón by Spanish composer José Serrano. The variety of repertoire on the recital allowed for the demonstration of several aspects of vocal technique, including breath control, language dominance, diction, phrasing, and agility.

Download or read book Program Notes for a Masters Recital in Vocal Performance written by Alex James Barnett and published by . This book was released on 2010 with total page 94 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book A Recital Document written by Gloria Jordan and published by . This book was released on 1968 with total page 144 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book A Supporting Document for a Graduate Recital written by Lawana Jean Ingle and published by . This book was released on 1970 with total page 370 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book Graduate Vocal Performance Recital Document written by Jordana Torrez and published by . This book was released on 2010 with total page 82 pages. Available in PDF, EPUB and Kindle. Book excerpt: This document contains researched commentary on the following composers and works: Tell me, some pitying angel / Henry Purcell ; Les nuits d'eté / Hector Berlioz ; Vissi d'arte, vissi d'amore / Giacomo Puccini ; Und gertern hat er mir rosen gebracht, Selige nacht, and Hat dich die liebe berührt / Joseph Marx ; Hermit songs / Samuel Barber.

Download or read book Graduate Recital written by Naunie B. Gardner and published by . This book was released on 1966 with total page pages. Available in PDF, EPUB and Kindle. Book excerpt: As this writer began preparation for the recital, many problems of performance began to manifest themselves, problems which are not encountered in opera or oratorio. First one must consider the problem of endurance. Would this singer be able to meet the demands of one full hour or recital performance? Inasmuch as some of the compositions chosen seemed more demanding than others, it seemed advisable to alternate numbers which placed great physical stress upon the singer with those which allowed some moments of ease and relaxation. It is also necessary to consider significant periods and styles of vocal literature and choose songs and arias which are representative. Or all the vocal performing arts, recital singing may well offer the greatest challenge to singers. It is the responsibility or the singer to communicate to the audience throughout the entire performance, and this must be done without the aid of props, scenery, chorus, staging or lighting, elements that are so common to some other media or vocal performance. It then becomes apparent that it is the sole responsibility of the singer, together with a good accompanist, to keep the feeling of spontaneity and life flowing throughout the performance. Each song or aria requires a change of mood and emotion and it is often difficult for a singer to accomplish this readily. In order to accurately represent the important forms of vocal literature, it is necessary to have singing proficiencies in a minimum of four languages: English, Italian, French and German. Each language offers a unique challenge. One difficulty in singing English lies in the fact that each section of our country tends to develop its own peculiar inflections and accents. It is difficult to sing English songs without falling victim to one's own speech habits...

Download or read book Program Notes for a Master s Recital in Vocal Performance written by Megan Rae Merseth and published by . This book was released on 2005 with total page 130 pages. Available in PDF, EPUB and Kindle. Book excerpt:

Download or read book Graduate Recital written by Ronald L. Wooden and published by . This book was released on 1965 with total page pages. Available in PDF, EPUB and Kindle. Book excerpt: The opportunity to select and perform qualified musical literature on a graduate recital offers the individual music teacher a challenge that is commensurate with the duties of his profession. A major responsibility of the music educator is the selection, rehearsal, and performance of the best possible literature that will meet the educational aesthetic needs of his particular performing group. It could be said that one of the most potent factors in preserving and expanding the musical culture of our society is the part played in it by the music educator and his wisdom and choice that he displays with this obligation. When the author began his recital preparation, little did he realize the amount of growth and progress that would have to take place before he would be able to schedule and perform a repertoire that would do justice to all concerned? To begin with, the writer had an insufficient realization of his own performance capabilities. During his undergraduate years he did not accomplish a high degree of artistry and facility in the performance medium either vocally or instrumentally. This, to be sure, was always deeply realized but justified inasmuch as the purpose of the music educator was to know a little about a vast and overwhelming area of performance demands. Originally, the recital program outline included performance on two of three woodwind instruments. Shortly thereafter this writer changed employment and devoted his energies to vocal and choral music. As a result of this change he began a serious study of the voice with Professor Marie Puffer at Utah State University with hopes of obtaining a proficient degree of performing ability as a competent music educator and amateur orator and operatic performer. During the summer of the 1964 the final recital draft was approved and called for the performance of alto saxophone literature, the singing of bass-baritone operatic, lieder, and the performance of an a Capella choir that is being directed by the author at Ogden High School. Justification of a recital that includes more than one performing medium could prove to be arduous to the competent specialist. But the writer firmly believes that there are many close similarities that exist between the vocal and instrumental performing medium. Certainly the discipline that is required by the notation system is worthy in itself. Expression, nuance, and the aesthetic nature of instrumental and vocal music offer innumerable parallels of complimentary study. H.A. Vandercook has this to say about expression in music....When a group has been drilled by an instructor who has experienced understanding of the grammar of music and the factors governing playing with expression, it is readily discernible that the players are attempting to meet the teacher's ideals; that they are striving in every way to secure pleasing results and to do something besides merely sounding all the notes... The importance of playing in good style with proper expression is too often neglected by the teacher, as a natural consequence, by those studying under him...The authority Arban, in referring to playing with expression, writes: "This circumstance(accent and expression) affords the performer and opportunity to rest while he continues to play and enables him to introduce effective contrasts into the execution at the same times 0́−It is not enough for the music educator to be a fine performer on an instrument. To a certain extent these attributes are inborn, primitive and natural in the musician. The music educator must be an artist as well, with a sound theoretical and musical knowledge of the fundamental basis for his success. Artistic performance is the result of combining sensitive taste and feeling with the established musical knowledge and technical "know-how0́+. The importance of "musicality" is often underestimated by the teacher of music in the public schools. Often this is the result of negligence on the part of the director to explore the vast area of style and interpretation. Equally important is the lack of fundamental musicianship. Nothing is more essential to a potential music educator than well-rounded musicianship with a thorough background of style and interpretation.

Download or read book The Fischer Dieskau Book of Lieder written by Dietrich Fischer-Dieskau and published by Hal Leonard Corporation. This book was released on 1984 with total page 452 pages. Available in PDF, EPUB and Kindle. Book excerpt: The original texts of lieder are accompanied by line-by-line translations

Download or read book Graduate Recital in Voice written by Angelina Hu and published by . This book was released on 2016 with total page 9 pages. Available in PDF, EPUB and Kindle. Book excerpt: My recital program embraces five languages and spans four periods of western music, two Chinese folk songs, and one Chinese art song. The styles represented are the Mozart concert aria, German Lied, French mélodie, Spanish art song, and Chinese folk and art song. These songs reflect the traditional style and characteristics of their times and cultural origins. They bring the audience on an emotional journey, traveling through the jewels of each respective culture. In 1778, Mozart composed the concert aria "Basta,Vincesti... Ah, non lasciarmi" for soprano and orchestra (K. 295a). The story of the text comes from Greek mythology. In this aria, Dido tries to convince Aeneas not to leave her, and then Aeneas painfully asks himself how can he leave her. The greatest expressive challenge in the piece is to vocally express Dido's emotional struggle of anger and sorrow. The singer must dive into Dido's inner emotional world to empathize with her feelings and to express her complicated emotions. Richard Strauss was a leading German composer of the late Romantic and early twentieth century. His song "Die Nacht" Op.10, No. 3 composed in 1885, describes the descending night that steals everything away from the world. The poet fears that their beloved will also be stolen away by the night. The singer must express a fear of loss as well as passion for their beloved. The piece "Breit uber mein haupt" is one song from 6 Lieder aus 'Lotosblätter', Op.19 , first published in 1888. The poetry expresses a longing for their lover's hair, their eyes, their face, and their soul. It is a challenge to capture vocally the passion and love of the text and musical writing. "Morgen" from Op. 27 is the last song from a set of four songs composed in 1894. The song describes the silent joy brought by the daylight. The poetry speaks of being united through the day in "the muted silence of happiness." The poem captures the profound connection of love through the silence of the morning. Breath control is one of the primary technical challenges, as the piece has long phrases and a slow tempo. By mastering the control of the release of air through use of the diaphragm, the singer is able to navigate the lengthy phrases with expression and power to capture the character of the poetry. "Kling" is the third song from a set of five songs entitled 5 Lieder, Op. 48 composed in 1900. The poetry speaks about personal transformation and the release of the past. It uses nature metaphors to connect the poet's sense of rebirth with the rebirth of the world. The poem has an almost psalm-like character and is composed of rich imagery. The piece is challenging and rests as one of the most difficult art songs of the modern repertoire. The song builds with gradually accelerated rhythm that climaxes on a powerful high C in the final phrase of the song. While technically demanding, Strauss' decision to build musically to the final high C is a fitting expression of the final line of text "Resound, my soul, resound." Fêtes Galantes for voice and piano, is a beautiful and influential song cycle composed by Debussy in 1891-1904. Debussy's art song repertoire is an important cornerstone for the vocal graduate student to master the challenges of early 20th century music. The cycle is impressionistic in style. Every piece is a challenging for the singer, both technically and artistically. In addition, the piano accompaniment is not generally supportive of the vocal part rhythmically, and the singer must be independent of the accompaniment, as the melody is not expressed in the piano. Debussy's vocal writing is an important part of vocal training at the graduate student level. The singer must take time to understand the musical background, and analyze the difference between the vocal line and the musical textures of the accompaniment. The singer must be sensitive to the deep expression of love in both the text and music. The composer's cynical attitude toward love adds layers of depth to the proper interpretation of the songs. With thoughtful analysis and practice one can master the characteristics of Debussy. The Collection of little songs in the antique style composed by Fernando Granados between1896 - 1900 captures the mood and color of Spain. The lovely "El tra la la y el punteado" tells of a "maja" (a colloquial word for attractive woman) who informs her man that she intends to keep singing no matter what he does or says to her. "El majo timido" tells about a "timid man" who looks in at her at night but never comes in. She is amused by his shyness, but at the same time interested in him. Both songs are challenging Spanish folk songs that play with the Spanish girl's passion, romance, and flirting. When a singer approaches these pieces, she must become the woman or "maja." She must express the flirtatious character of the music and the simplicity of the folk poetry. The folkloric Spanish melodies are rich and beautiful as is the musical texture of Granados accompaniments. Spanish song writer Fernando Obradors (1897-1945) composed "Del cabello más sutil" which is a beautiful song describing the beauty of the softness of a woman's hair. It is a song with affectionate and joyful rhythm. The smoothness of the hair makes the singer want to kiss their love. The folk song "Qumandi Flower" is written in the Uighur style of China. The passionate poetry ignites hope and romance between two lovers. The poetry expresses their love metaphorically using imagery of a blooming flower. The rhythm is syncopated and intense. The syncopated and lively rhythms inspire the listener to get up and dance to the music. The vocal contrast between the slow and fast tempos inspires a desire to sing and dance. The Han Folk genres song "Embroidered Purse" is another classic song in the folk tradition of China. The poetry expresses a young lady's happiness and longing while she embroiders a purse for her lover. The most difficult aspect of the song is to vocally differentiate the young lady's three different feelings of shyness, longing, and hope. The art song "Pamir, How Beautiful My Hometown" comes from song cycle Motherland Seasons - Autumn composed by Qiufeng Zheng during the 1980's. Pamir is a place with beautiful natural scenery located in Xin Jiang China where the Uighur people live. The text praises the rich mountains and rivers of the motherland, and the people's happy life. The rhythmic contrast is very strong, beginning from lyrical and slow and then transitions to 7/8 meter with a driving tempo. The singer needs not only to control the syncopated rhythm and the slow tempo at the beginning, but must also use a wide vocal range. The singer also needs to capture the beauty of Pamir and express affection towards the Chinese motherland. A graduate vocal recital is an opportunity to develop musical experience and accomplishment. Through the recital presentation of different periods and different languages, one learns to appreciate the charm and value of Western and Eastern music. They are indeed the musical cultural treasures in the world.