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The article from the Wagner Journal explores the vocal requirements for singing Wagnerian roles, emphasizing the importance of more than just volume in Wagnerian singing. It discusses the vocal classifications associated with specific types of voices required for Wagner's roles and highlights the subtlety and emotional depth required in portraying characters like Alberich, Wotan, Siegmund, Siegfried, Sieglinde, and Brünnhilde. The article also delves into the relationship between voice and orchestra in Wagner's music dramas, showcasing how the orchestra complements and enhances the singers' performances. Ultimately, the article suggests that a lyrical approach to Wagnerian singing can be as valid and rewarding as a heroic one, emphasizing the importance of stamina, breath control, legato, diction, acting, and a wide range of vocal colors and dynamics in interpreting Wagner's complex characters. [Extracted from the article]

Gaetano Donizetti is one of the most prominent figures in Italian opera, especially of the period known as the "belcanto era". This article aims to present less known biographical data to readers, related to the life of the great Bergamo composer, carefully treating his years of study, a defining period in the formation of his character and personality. Donizetti composed countless arias for the tenor voice, either in the belcanto or romantic style. The discovery and promotion of lesser-known arias is for me one of the most important pragmatic aspects of the act of scientific research. The role of this article is to spark students' interest in listening and start studying lesser-sung pieces from the Donizettian repertoire. [ABSTRACT FROM AUTHOR]

The revival movement of the Italian bel canto and the singing technique practiced by tenors of the early 19th century are some of the main topics of my research. The paperwork proposes to readers a comprehensive approach to the music terms "vocal virtuosity" and "bel canto" in connection with tenor voice. I hope the results to overcome the scientific barrier, and to propose to the current generation of masculine singers real and applicable solutions to the problems of the bel canto repertoire, especially in understanding and solving the hardest virtuosity passages. [ABSTRACT FROM AUTHOR]

Professor Charles Emmanuel Fantazzi, a distinguished member of the world of Neo-Latin scholarship, has passed away. Born in Yonkers, New York in 1930, Fantazzi received his early education in Greek and Latin before studying classics at Catholic University. He later earned his PhD from Harvard and joined the faculty of the University of Windsor, Ontario, where he remained until his retirement in 1995. Fantazzi was known for his scholarly achievements, including editing and translating numerous works, and was described as a true gentleman and humanist. He will be greatly missed by his friends and colleagues around the world. [Extracted from the article]

This study examines the nature of Anglo-Krio relations in Sierra Leone between 1895 and 1922, a period that could arguably, be described as the most trying phase in Krio fortunes. It sheds significant light on Sierra Leone's intellectual history, and provides a window through which the historian could begin to gauge the fortunes of a disadvantaged community seeking to negotiate the strains and stresses ignited by what had come to be perceived as an oppressive colonial system by the end of World War I. Whilst examining some discernible characteristics of a colonised society such as the Krio, the study juxtaposes the nuanced and complex character of Britain's colonial administration with the intellectual impulses that drove Krio society in the period under review, and the ways in which gubernatorial idiosyncrasies ruffled Krio sentiments and forced the society to begin questioning their loyalty to officialdom. Part of the methodology employed here is to tap the tenor of Krio voices within an essentially repressive context as they sought to mediate their relationship with their colonial masters. In tracing the roots of Krio protest, the study examines diverse factors, which shaped Krio perceptions of His Majesty's proconsuls, and the extent to which colonial administrators drew on the racist ethos of the period, orchestrated through the controversial institution of 'albocracy', to exclude colonial subjects from the top echelons of government. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Education Technology & Scientific Researches is the property of Ayse Burcu Ulusoy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Transforming Justice is a collaborative project that aims to challenge the dominant narratives of policing and segregation in Milwaukee through community workshops, visual arts and storytelling, and experimental mapping. This Practices and Curations contribution describes one of the project's collaborations, a design challenge, that aimed to create and imagine new ways of visualizing (in)justice and place in Milwaukee. Engaging feminist principles of supporting multiple perspectives, the curation comprises visuals and narratives from four of the groups that participated, using their own voices and emotional tenor to describe their design processes. Working toward abolitionist design, we conclude with reflections on (1) embracing pluralism and enabling multiple design processes, (2) centering authorship and ownership, (3) exposing and contesting dominant narratives, (4) exploring dynamic and relational visual representations, and (5) incorporating tangible materials for inclusive design. [ABSTRACT FROM AUTHOR]

The tenor Roland Hayes came to international fame in the Harlem Renaissance, but the obscurity that followed his success reveals the catch-22 that confronted him and many of his contemporaries. Hayes's career was plagued by the choice between, on the one hand, assimilating black music to narrations of primitivity and authenticity and, on the other, subscribing to projects of black music's transformation under the tutelage of Western form. The first part of this article traces the tangled discourse on the meaning and significance of the spirituals from Frederick Douglass to the Harlem Renaissance. The second examines how this context shaped Hayes's career and its reception. The third turns to James Cone to articulate a constructive theological reading of divine liberation in the spirituals. Here, the essay argues that the spirituals' theology must be heard both within the songs' historical complexity and as witness to a different understanding of history itself. [ABSTRACT FROM AUTHOR]

This study is an analysis of voice technique for the tenor, more specifically of the "i" vowel in the aria "Una furtiva lagrima" by Gaetano Donizetti. It studies 6 different recordings of singers who recorded this aria with a gap of 50 years from the oldest one till the recent one. It analyse the vowel modification and the vocal frontality of the i vowel in the tenor's passaggio and in the high register. The lighter voices have a natural frontality that are richer in harmonics than the darker voices who have a squillo sound. [ABSTRACT FROM AUTHOR]

The Elizabethan and Jacobean lute song (1597–1622) represents one of the most iconic genres of all early music. Although much literature has been dedicated to this repertory, the issue of the voices for which this music was probably intended still remains surprisingly underexplored. This subject has, moreover, acquired greater significance in light of research undertaken by Simon Ravens (2014) and Andrew Parrott (2015), which has challenged the plausibility of the falsetto voice in Medieval and Renaissance Europe, particularly in sacred music. This paper explores the issue of the types of voices that most likely performed the Elizabethan and Jacobean lute song in three ways. Firstly, contemporary English evidence for lutes and viols is analyzed together with information regarding tuning and transposition. Secondly, the music itself is investigated, including the part names and clefs used alongside the tessitura of the melodic line. Finally, a detailed examination of evidence for the tenor and falsetto voice is presented, including a critical examination of the word 'faine' (usually assumed to mean 'falsetto'). The collective results are then brought together to refine current ideas regarding the voices used in the Elizabethan and Jacobean lute song. [ABSTRACT FROM AUTHOR]

The purpose of this article is to analyze the Opera legacy of Giacomo Puccini from the standpoint of practical vocal pedagogy, which, according to the authors, is necessary for the formation of vocal and performing skills of young singers of the academic direction. The authors suggest a historical overview of the main works of the composer in this genre, based on the study of their vocal characteristics, and the author reveals the features of his unique Arioso-recitative style. Various research methods (the aesthetic, vocaltechnical and methodological analyses in particular) reveal that the works by G. Puccini are of particular significance for the development of vocalists‟ singing breath, musicality, imaginative thinking, mastering of the technique of cantilena, continuous legato (as the basis of bel canto), improving the timbral colours of the voice, its dynamic nuances, developing the right senses of agogics. The above is confirmed by the analysis of the peculiarities of performance technique and interpretation of one of the composer‟s most famous works for the tenor voice - Calaf‟s aria "Nessun dorma" from the opera "Turandot" (which was the main subject of this study). [ABSTRACT FROM AUTHOR]

The label 'Ars Nova' is not easily applicable to Italian 14th-century music, since its main characteristics, such as isorhythm, diminution, pre-existing tenors, and so on, are practically absent, with a few exceptions, from Italian musical compositions, even Italian motets. Yet, isorhythm and diminution were used in the madrigal Povero zappator by Lorenzo da Firenze. What was the reason for using these devices just in this madrigal, whose poetic text about a lone sailor in a tempestuous sea at first glance seems to be a poem typical of Trecento madrigals? This article contends that this text, which so far has attracted little scholarly attention, is derived from Petrarch's canzone Ne la stagion che 'l ciel rapido inchina. This provides not only a clue to understanding Lorenzo's intentions, but, in a larger perspective, it also discloses the perception by Italian Trecento musicians of the musical thinking of their transalpine colleagues. [ABSTRACT FROM AUTHOR]

Scholars have made great progress in exploring individual eighteenth-century drammi per musica as events (departing from the more singular focus on the work as captured in a musical score), and the singer often stands at the center of such an event. We have long known that composers took into consideration singers' voices when composing scores, but we also have gained insight into how singers could hold sway over the hiring of other cast numbers and determine the choice of repertory. Such case studies often focus on famous castratos -- as stars, they could extract concessions of many kinds in exchange for their services as lead singer. Until now, it has been assumed that singers standing lower in the operatic hierarchy -- second and third men, for instance--had little influence. This assumption is, however, belied by a newly discovered cache of 119 letters from agents, singers, dancers, instrumentalists, and the costume designer to the impresario of the opera Il Farnaspe, staged in Siena in 1750. This essay examines the information we can glean about the production from that source in the context of the history of musico-dramatic performances in the city. Opera flourished in Siena during the late seventeenth and early eighteenth century under the sponsorship of a powerful expatriate clan, the Chigi, who understood how to exploit festive occasions and the sociable enterprises surrounding them as expressions of senesità, or the Sienese way of doing things. In 1750, it was not the Chigi who were in charge, but rather another powerful local clan, the Sansedoni. The most compelling information on the production comes from a hitherto unknown tenor, Cesare Grandi, originally cast as third man in the opera. Over the course of six months, he wrote nineteen letters to the ostensible impresario of the production, Francesco Sansedoni. The letters show the singer negotiating on his own and his wife's behalf, and then on behalf of a much more famous castrato, Gioacchino Conti, who he wanted cast in the lead role. They demonstrate that it was Grandi who had had the greatest impact not only on who was engaged for all the main singing roles, but also on who was hired to enlarge the local orchestra, what opera was chosen, and when it was scheduled. He also oversaw the revisions to the libretto and the score, supervised the music copying, and made decisions about costumes. Cesare Grandi's letters allow us to observe the mechanics of putting together an eighteenth-century Italian opera seria at close range and in real time. They reinforce much of what we already know about the prevalence of the pasticcio (even when not indicated as such) and the unreliability of the libretto as a faithful record of every performance. Most important, however, they demonstrate that we might want to look in beyond the usual suspects to understand who might have influenced the most basic decisions regarding the choice of work, casting, scheduling, costuming, and musical score of a mid-eighteenth-century Italian opera. [ABSTRACT FROM AUTHOR]