Related Research Articles
Overtone singing, also known as overtone chanting, harmonic singing, polyphonic overtone singing, or diphonic singing, is a set of singing techniques in which the vocalist manipulates the resonances of the vocal tract to arouse the perception of additional separate notes beyond the fundamental frequency that is being produced.
In music, serialism is a method of composition using series of pitches, rhythms, dynamics, timbres or other musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though some of his contemporaries were also working to establish serialism as a form of post-tonal thinking. Twelve-tone technique orders the twelve notes of the chromatic scale, forming a row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variations. Other types of serialism also work with sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions, such as duration, dynamics, and timbre.
Vocal music is a type of singing performed by one or more singers, either with instrumental accompaniment, or without instrumental accompaniment, in which singing provides the main focus of the piece. Music which employs singing but does not feature it prominently is generally considered to be instrumental music as is music without singing. Music without any non-vocal instrumental accompaniment is referred to as a cappella.
Singing is the act of creating musical sounds with the voice. A person whose profession is singing is called a singer, artist or vocalist. Singers perform music that can be sung with or without accompaniment by musical instruments. Singing is often done in an ensemble of musicians, such as a choir. Singers may perform as soloists or accompanied by anything from a single instrument up to a symphony orchestra or big band. Different singing styles include art music such as opera and Chinese opera, Indian music, Greek music, Japanese music, and religious music styles such as gospel, traditional music styles, world music, jazz, blues, ghazal, and popular music styles such as pop, rock, and electronic dance music.
Falsetto is the vocal register occupying the frequency range just above the modal voice register and overlapping with it by approximately one octave.
Sprechgesang and Sprechstimme, more commonly known as speak-singing in English, are expressionist musical vocal techniques between singing and speaking. Though sometimes used interchangeably, Sprechgesang is directly related to the operatic recitative manner of singing, whereas Sprechstimme is closer to speech itself.
Dreimal sieben Gedichte aus Albert Girauds "Pierrot lunaire", commonly known simply as Pierrot lunaire, Op. 21, is a melodrama by Arnold Schoenberg. It is a setting of 21 selected poems from Albert Giraud's cycle of the same name as translated into German by Otto Erich Hartleben. The work is written for reciter who delivers the poems in the Sprechstimme style accompanied by a small instrumental ensemble. Schoenberg had previously used a combination of spoken text with instrumental accompaniment, called "melodrama", in the summer-wind narrative of the Gurre-Lieder, which was a fashionable musical style popular at the end of the nineteenth century. Though the music is atonal, it does not employ Schoenberg's twelve-tone technique, which he did not use until 1921.
In music theory, a ninth chord is a chord that encompasses the interval of a ninth when arranged in close position with the root in the bass.
The ninth chord and its inversions exist today, or at least they can exist. The pupil will easily find examples in the literature [such as Schoenberg's Verklärte Nacht and Strauss's opera Salome]. It is not necessary to set up special laws for its treatment. If one wants to be careful, one will be able to use the laws that pertain to the seventh chords: that is, dissonances resolve by step downward, the root leaps a fourth upward.
Head voice is a term used within vocal music. The use of this term varies widely within vocal pedagogical circles and there is currently no one consistent opinion among vocal music professionals in regard to this term. Head voice can be used in relation to the following:
Stimmung, for six vocalists and six microphones, is a piece by Karlheinz Stockhausen, written in 1968 and commissioned by the City of Cologne for the Collegium Vocale Köln. Its average length is seventy-four minutes, and it bears the work number 24 in the composer's catalog.
Bel canto —with several similar constructions —is a term with several meanings that relate to Italian singing.
Throat singing refers to several vocal practices found in different cultures worldwide. These vocal practices are generally associated with a certain type of guttural voice that contrasts with the most common types of voices employed in singing, which are usually represented by chest (modal) and head registers. Throat singing is often described as evoking the sensation of more than one pitch at a time, meaning that the listener perceives two or more distinct musical notes while the singer is producing a single vocalization.
A vocal warm-up is a series of exercises meant to prepare the voice for singing, acting, or other use.
In music, the undertone series or subharmonic series is a sequence of notes that results from inverting the intervals of the overtone series. While overtones naturally occur with the physical production of music on instruments, undertones must be produced in unusual ways. While the overtone series is based upon arithmetic multiplication of frequencies, resulting in a harmonic series, the undertone series is based on arithmetic division.
Screaming is an extended vocal technique that is popular in "aggressive" music genres such as heavy metal, punk rock, and noise music. It is common in the more extreme subgenres of heavy metal, such as death and black metal as well as many other subgenres.
Mongol-Tuvan throat singing, the main technique of which is known as khoomei, is a style of singing practiced by people in Tuva and Mongolia. It is noted for including overtone singing. In 2009, it was included in the Representative List of the Intangible Cultural Heritage of Humanity of UNESCO. The term hömey / kömey means throat and larynx in different Turkic languages. That could be borrowed from Mongolian khooloi, which means throat as well, driven from Proto-Mongolian word *koɣul-aj.
Vocal pedagogy is the study of the art and science of voice instruction. It is used in the teaching of singing and assists in defining what singing is, how singing works, and how proper singing technique is accomplished.
The vocal fry register is the lowest vocal register and is produced through a loose glottal closure that permits air to bubble through slowly with a popping or rattling sound of a very low frequency. During this phonation, the arytenoid cartilages in the larynx are drawn together, which causes the vocal folds to compress rather tightly and become relatively slack and compact. This process forms a large and irregularly vibrating mass within the vocal folds that produces the characteristic low popping or rattling sound when air passes through the glottal closure. The register can extend far below the modal voice register, in some cases up to 8 octaves lower, such as in the case of Tim Storms who holds the world record for lowest frequency note ever produced by a human, a G−7, which is only 0.189 Hz, inaudible to the human ear.
Roy Hart was a South African actor and vocalist noted for his highly flexible voice and extensive vocal range that resulted from training in the extended vocal technique developed and taught by the German singing teacher Alfred Wolfsohn at the Alfred Wolfsohn Voice Research Centre in London between 1943 and 1962.
The Alfred Wolfsohn Voice Research Centre was a project established to investigate the therapeutic and artistic potential of vocal expression. The Centre was founded by Alfred Wolfsohn in Berlin during 1935 and re-situated in London during 1943, where he and his contemporaries and successors developed principles and practices that provided the foundations for the use of an extended vocal technique. This technique allows vocalists to extend their vocal range and flexibility beyond that usually heard in speech or song.
References
- ↑ David Pariser and Enid Zimmerman, "Learning in the Visual Arts: Characteristics of Gifted and Talented Individuals," in Handbook of Research and Policy in Art Education, edited by Elliot W. Eisner and Michael D. Day (Mahwah, New Jersey: Lawrence Erlbaum Associates, 2004): 388. ISBN 978-0-8058-4972-1.
- ↑ Gregory Rose and Simon Emmerson, "Stockhausen 1: Stimmung". Contact, no. 20 (Autumn 1979): 20–25, citation on 20.
- ↑ Charles Madden, Fractals in Music: Introductory Mathematics for Musical Analysis, InMusic (Salt Lake City, Utah), no. 1 (Salt Lake City: High Art Press, 1999): 85–89, 95. ISBN 978-0-9671727-5-0.
- ↑ "Sulfur Hexafluoride". Hazardous Substances Data Bank. U.S. National Library of Medicine. Retrieved 26 March 2013.
- Blatter, Alfred (1980). Instrumentation/Orchestration. New York: Schirmer Books.
- Read, Gardner (1969). Music Notation. 2nd ed. Boston: Crescendo Publishing Co.
- Edgerton, Michael Edward (2005). The 21st-Century Voice: Contemporary and Traditional Extra-Normal Voice. Lanham: Scarecrow Press.- ISBN 978-0-8108-5354-6
- Fuks, Leonardo; Hammarberg, Britta; Sundberg, John (1998): "A self-sustained vocal-ventricular phonation mode: acoustical, aerodynamic and glottographic evidences", KTH TMH-QPSR 3/1998, 49–59, Stockholm
