Author: Nicola Vaccai Publisher: Ravenio Books ISBN: Category : Music Languages : en Pages : 42
Book Description
Anyone who wishes to sing really well should begin by learning how to sing in Italian, not only because the Italian school of vocalisation is acknowledged to be superior to all others, but also on account of the language itself, where the pure and sonorous tone of its many vowel sounds will assist the singer in acquiring a fine voice-production and a clear and distinct enunciation in any language he may have to sing, no matter what may be his nationality.
Author: Timothy Cheek Publisher: Rowman & Littlefield ISBN: 153816342X Category : Music Languages : en Pages : 251
Book Description
Perfect Italian Diction for Singers: An Authoritative Guide provides the steps and tools for singing beautifully and expressively in this language. Timothy Cheek and Anna Toccafondi systematically home in on the essential features of the most beautiful Italian, pitfalls of non-native singers, and how to overcome those issues. In addition to delving to the heart of Italian sounds and inflection, they present controversies, misconceptions, and various approaches—often conflicting—that have arisen throughout the last century. Chapters also address: Italian style and legato Best use of supplemental resources and dictionaries Recitative with suggested, short Mozart excerpts Working with text Singing diphthongs, triphthongs, and hiatus Also included are a plethora of audio and video examples and exercises (over seventy QR codes), exercises for group or self-study, and self-assessment summaries. This book will help singers and students lay a solid foundation in beautiful, lyric Italian.
Author: Rose Guccione Publisher: ISBN: Category : Singing Languages : en Pages : 0
Book Description
"When Metodo pratico di canto italiano per camera in 15 lezioni was first published, Nicola Vaccaj lived and taught in London. In Metodo’s preface, Vaccaj premised this didactic work on two conclusions. First, that Italian was the preferred language in which to learn how to sing; and second, that both amateurs and aspiring professionals would benefit from a method that streamlined then current vocal methods, thus making those methods more accessible. Although Vaccaj’s method is rooted in the Bel Canto tradition, it remains directly relevant to today’s Music Theater singer. While Music Theater singers are unlikely to perform in Italian, they are likely to be required to learn an accent or dialect. Further, Italian is among the easier languages with which to introduce singers to the International Phonetic Language (“IPA”). Use of the IPA is an essential tool to notate and read preferred pronunciations of dialects within Music Theater roles and to encourage a blended sound within ensembles. Vaccaj’s utilization of Pietro Metastasio’s poetry is as efficient as the method itself. Vaccaj’s exercises condense components of vocal technique and should serve as a framework to teach music theory, sight-singing, and the IPA. The method also provides singers with both a basis for learning different musical styles, and a touchstone they may revisit throughout their career. This thesis examines Vaccaj’s composition and Metastasio’s text supplemented by translations, IPA transcription, solfège on Movable Do, and examples in Music Theater supplemented by IPA transcription, solfège on Movable Do, and Kodály hand signs. In so doing, the thesis demonstrates how an early nineteenth century didactic work remains relevant to training Music Theater singer."--
Author: David Abulafia Publisher: Oxford University Press, USA ISBN: 0195080408 Category : Religion Languages : en Pages : 486
Book Description
Frederick II of Hohenstaufen, Holy Roman Emperor, King of Sicily, King of Jerusalem, has, since his death in 1250, enjoyed a reputation as one of the most remarkable monarchs in the history of Europe. His wide cultural tastes, his apparent tolerance of Jews and Muslims, his defiance of the papacy, and his supposed aim of creating a new, secular world order make him a figure especially attractive to contemporary historians. But as David Abulafia shows in this powerfully written biography, Frederick was much less tolerant and far-sighted in his cultural, religious, and political ambitions than is generally thought. Here, Frederick is revealed as the thorough traditionalist he really was: a man who espoused the same principles of government as his twelfth-century predecessors, an ardent leader of the Crusades, and a king as willing to make a deal with Rome as any other ruler in medieval Europe. Frederick's realm was vast. Besides ruling the region of Europe that encompasses modern Germany, Czechoslovakia, Poland, eastern France, and northern Italy, he also inherited the Kingdom of Sicily and parts of the Mediterranean that include what are now Israel, Lebanon, Malta, and Cyprus. In addition, his Teutonic knights conquered the present-day Baltic States, and he even won influence along the coasts of Tunisia. Abulafia is the first to place Frederick in the wider historical context his enormous empire demands. Frederick's reign, Abulafia clearly shows, marked the climax of the power struggle between the medieval popes and the Holy Roman Emperors, and the book stresses Frederick's steadfast dedication to the task of preserving both dynasty and empire. Through the course of this rich, groundbreaking narrative, Frederick emerges as less of the innovator than he is usually portrayed. Rather than instituting a centralized autocracy, he was content to guarantee the continued existence of the customary style of government in each area he ruled: in Sicily he appeared a mighty despot, but in Germany he placed his trust in regional princes, and never dreamed of usurping their power. Abulafia shows that this pragmatism helped bring about the eventual transformation of medieval Europe into modern nation-states. The book also sheds new light on the aims of Frederick in Italy and the Near East, and concentrates as well on the last fifteen years of the Emperor's life, a period until now little understood. In addition, Abulfia has mined the papal registers in the Secret Archive of the Vatican to provide a new interpretation of Frederick's relations with the papacy. And his attention to Frederick's register of documents from 1239-40--a collection hitherto neglected--has yielded new insights into the cultural life of the German court. In the end, a fresh and fascinating picture develops of the most enigmatic of German rulers, a man whose accomplishments have been grossly distorted over the centuries.
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