El Argonauta. La librería de la música.

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Method of Italian Singing: from Recitar cantando to Rossini
Method of Italian Singing: from Recitar cantando to Rossini.
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Method of Italian Singing: from Recitar cantando to Rossini

  • ISBN: 979-0-2153-1913-4
  • Editorial: UT Orpheus
  • Traductor: Paul Angus
  • Encuadernación: Rústica
  • Formato: 23x31
  • Páginas: 159
  • Idiomas: Inglés
  • Tipo: LIBRO
  • código del editor: DMU 71

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Method of Italian Singing: from "Recitar cantando" to Rossini, with Examples and Exercises from Historical Treatises on the Technique of Singing

The purpose of this work s to bridge the gap between musicological theory and methodological practice in the study of singing. This singing method explores the "Italian tradition", an idea to which we will make constant referente in the chapters that follow. We begin with a discussion of terms and their meanings ; and go on the develop a teaching course in which vocal practice is based on exercises and solfeggi from historical sources, correlated with live testimony from those who were present at the time. It goes without saying that the full extent and complexity of this subject cannot be exhausted in the pages of single volume. For this reason, the contents of this method should be seen as an introduction to he fundamental principies of the antica scuola italiana, the ancient Italian school of singing, which we,examine from Le Nuove Musiche by Giulio Caccini up to bel canto singing of the early 19th century.

CONTENIDO:

Introduction

Chapter 1 - Physiology
1.1 Overview
1.2 Breathing
1.3 Voice classification
1.4 Voice classification according to García

Chapter 2 - Emission
2.1 Overview
2.2 Scales for controlling the voice (Pellegrini Celoni)
2.3 Scales for forming the voice (Pellegrini Celoni)
2.4 Messa di voce
2.5 Messa di voce exercises (Pellegrini Celoni)
2.6 Attacking the round

Chapter 3 - Posture
3.1 Overview - Position of mouth and tongue
3.2 Forming the vowels
3.3 Exercises from the MCP

Chapter 4 - Registers
4.1 Overview
4.2 Merging the registers
4.3 Exercises for merging the registers (García, Pellegrini Celoni)
4.4 Timbre

Chapter 5 - Embellishments
5.1 Portamento di voce
5.2 Portamento exercises (Pellegrini Celoni)
5.3 Accent
5.4 Trill - Groppo
5.5 Ribattuto exercise (García)
5.6 Trill exercises (Pellegrini Celoni)
5.7 Scales f or training the trill
5.8 Appoggiatura
5.9 Appoggiatura exercises (Pellegrini Celoni)
5.10 Gruppetto - Mordent
5.11 Mordent exercises (Pellegrini Celoni)
5.12 Volatina -
5.13 Volatina exercises (MCP)

Chapter 6 - Passages
6.1 Overview
6.2 Rubato
6.3 Singing di gorgia
6.4 Exercises from Bovicelli
6.5 Exercises from Rognoni

Chapter 7 - Madrigal a voce sola
7.1 Overview
7.2 Strophe aria
7.3 Illustrated plates from Caccini

Chapter 8 - Recitative
8.1 Recitative style in the early 17`h century
8.2 Sprezzatura
8.3 Recitative in the 18`h century

Chapter 9 - Agility
9.1 Overview
9.2 Martellato
9.3 Arpeggiato
9.4 Cantar di sbalzo
9.5 Agility exercises (Pellegrini Celoni)
9.6 Arpeggio exercise (Lablache)

Chapter 10 - Solfeggio 10.1 Overview
10.2 Vocalisation
10.3 Pronunciation and articulation
10.4 Aprile's Solfeggi

Chapter 11 - Cadenza
11.1 Overview
11.2 Exercises (Pellegrini Celoni)
11.3 Fermata
11.4 Examples (Pellegrini Celoni)

Chapter 12 - Aria
12.1 Overview
12.2 Cantabile
12.3 Andante
12.4 Allegro
12.5 Agitato
12.6 Aria parlante
12.7 Rondó
12.8 Cavatina

Chapter 13 - Vibrato and top C from the chest
13.1 Vibrato
13.2 Top C from the chest

Bibliography
Glossary

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