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Full-Text Articles in Music Practice
The Versatile Singer: A Guide To Vibrato & Straight Tone, Danya Katok
The Versatile Singer: A Guide To Vibrato & Straight Tone, Danya Katok
Dissertations, Theses, and Capstone Projects
Straight tone is a valuable tool that can be used by singers of any style to both improve technical ideals, such as resonance and focus, and provide a starting point for transforming the voice to meet the stylistic demands of any genre. By employing a resonant, minimally vibrated, balanced sound as the core of the voice, the versatile singer can stylistically unbalance the voice by layering colors and effects in ways appropriate for many types of singing. In order to fully understand the inner workings of vibrato and how it can be healthily minimized, my discussion of vibrato and straight …
Anton Arensky’S String Quartet In A Minor, Op. 35, For Violin, Viola, And Two Celli, Miho Zaitsu
Anton Arensky’S String Quartet In A Minor, Op. 35, For Violin, Viola, And Two Celli, Miho Zaitsu
Dissertations, Theses, and Capstone Projects
My dissertation consists of an in-depth analysis and study of Anton Arensky’s Quartet in A minor, op. 35, for violin, viola, and two celli. It also includes a short biography, a historical background of the work, and an exploration of thematic material. Perhaps the only piece written for this unique combination of instruments, the Quartet in A minor, published in 1894, was written in the months following Tchaikovsky’s death. It was first premiered on January 20, 1894, at the Imperial Music Society, Moscow, in remembrance of Arensky’s great friend and mentor. The unusual instrumentation was a curious attempt to …
Searching For Sounds: Instrumental Agency And Modularity In Electroacoustic Improvisation, Stephen (Red) Wierenga
Searching For Sounds: Instrumental Agency And Modularity In Electroacoustic Improvisation, Stephen (Red) Wierenga
Dissertations, Theses, and Capstone Projects
In their radical departure from conventional instrumental technique and standardized instruments themselves, the practices of electroacoustic improvisation present a particular challenge to prevalent Western concepts of musical instruments. These concepts—which generally treat instruments as fixed objects—are ill-equipped to account for the ways in which electroacoustic improvisers foreground the agency of their instruments and abandon the quest for “mastery” typical especially of classical attitudes. Additionally, electroacoustic improvisers often approach instruments not as singular, self-contained, and static in their materiality, but rather as modular instrumentaria capable of myriad states and ever in flux, similarly problematizing conventional conceptions that view the physical constitutions …