1,720,964 research outputs found
Handel's Messiah
No full textThe Pakuranga Choral Society and Cantemus Choir presented Handel's Messiah with Hamilton, D.B. (conductor), Bell, M. (organ), Atchison, M.C. (soprano), Court, S. (mezzo), Grenon, A. (tenor) and Harrison, J.G (bass) in Morrinsville and Howick.Handel's Messiah is always a favourite, and the Pakuranga Choral Society and Cantemus Choir present a post-Easter performance of this in Morrinsville and Howick to very appreciative audiences. Both concerts were full and well received. The soloists were some of the leading singers in New Zealand, conducted by leading composer David Hamilton and accompanied on the organ by Michael Bell
Mozart's Requim by candlelight [Wellington Cathedral of St Paul]
No full textVoices New Zealand Chamber Choir, Vector Wellington Orchestra, Morag Atchison (soprano), Bianca Andrew
(mezzo), Bonaventure Allan-Moetaua (tenor), Shane Lowrencev (bass), conducted by Karen Grylls
Simon O’Neill in concert with the University of Auckland Chamber Choir
No full textThe purpose of Simon O'Neill's visit was to work with singers, both solo and choral, in workshops and the studio, and to perform a recital of repertoire worked on during his residency. The recital presented singing students from the School fo Music and The University of Auckland Chamber Choir. The University supported Simon O’Neill’s visit to the School of Music through the Distinguished Visitor Award. Many thanks also to the Faculty of Creative Arts and Industries and the School of Music for their help in making this visit possible, and to Dmitry Rusakov and St Matthew’s-in-the-City for their continued support of School of Music concerts in their beautiful church.https://www.eventfinda.co.nz/2019/simon-oneill-with-the-auckland-chamber-choir/aucklan
Proms - De Falla; Moncayo; Vivaldi; Delibes; Strauss II; Strauss Sr.; Holst; Parry; Elgar
No full textConductorProms - De Falla La Vida Breve; Moncayo Huapango; Vivaldi Piccolo Concerto; Delibes Flower Duet; Strauss II various; Strauss Sr various.; Holst 'I vow to Thee' ; Parry 'Jerusalem'; Elgar 'Pomp and Circumstanc
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
HIdden Virtuosity: The choral soprano in the studio
No full textHidden virtuosity: the choral soprano in the studio The idea that “choral singing ruins your voice” is now viewed as out-dated, yet there is still a divide between soloists and choristers. In the studio, voice teachers are conscious of giving appropriate repertoire to developing singers, however, for choral singers, the technical demands placed on them often far exceed the technical skill set of a young singer. If you look at a standard choral programme the vocal techniques required by the singers are vast, with music that could range from renaissance polyphony to a newly commissioned work. Untrained singers in community and youth choirs are expected to perform these works, often without any vocal tuition, whereas even the young soprano soloist would typically be able to draw on years of technical and stylistic training. This presentation will explore the demands placed on sopranos in the choral and the emerging solo worlds, and look to how pedagogues can ensure vocal health within the choral rehearsal and performance space. By contrasting arias with choral movements from oratorio, I will explore the technical challenges faced by both the soloist and chorister. What can pedagogues do to help the choral soprano? Should they be working on choral parts with the same commitment in the studio as they do with solo arias, broadening the musical scope of vocal tuition?https://newzats.org.nz/assets/PDFs/Conference-Brochure-Online.jp
The Soloist as an Ensemble Singer
No full textMy doctoral study is driven by my interest in choral music, ensemble repertoire for soloists, and the training of the choral musician in the New Zealand environment. Choral singing has for too long been seen as the poorer cousin of solo singing and therefore it is often overlooked in the training of young singers. If you look at the list of winners from New Zealand’s most prestigious singing competition, the Lexus Song Quest (formerly the Mobil Song Quest), an extraordinary number of these have sung in one of the national choirs or had an extensive choral training. Yet in spite of this, many young singers are discouraged from singing in a choir for fear that it will ruin their solo potential. Through the music of five recitals I have explored the role of the soloist in the ensemble, from the music of Bach through to contemporary art music from New Zealand. The skills developed in the ensemble are vital for the solo singer. There is no question that singers entering the professional arena will spend a large part of their singing life in the ensemble context, whether it is as part of a chorus, a professional chamber choir, or ensemble singing in operas and oratorios. The purpose of my exegesis is to challenge the belief that a soloist should only be a soloist, and address many issues that surround soloists singing in choir, for example blend and vibrato. Through my recitals displaying the repertoire of the soloist and the ensemble singer in opera, chamber music and oratorio, I have promoted the ideal that a “well-trained” professional singer should be able to move seamlessly between the two worlds
Hidden virtuosity: The choral soprano in the studio
No full textAlthough the notion that "choral singing ruins your voice" has become less prevalent, there still remains a certain discipline divide between soloists and choristers. Voice teachers take great care to give relevant technical instructions and appropriate solo repertoire to their developing students. Choral singers on the other hand, often receive little or no technical instruction yet are asked to sing music that can, in certain ways, and especially for choral sopranos, be much more challenging than standard soloist repertoire. Looking at some exemplary solo arias in comparison with complementary choral writing, this paper evaluates the vocal demands placed on choral and solo sopranos in a classical music context. It also investigates how pedagogues may ensure greater vocal freedom within the choral rehearsal and performance spaces. It is suggested that through better collaboration between voice teachers and conductors, a rehearsal technique may be developed that benefits both the solo and choral singer. It is further argued that pedagogues should work on choral music with the same commitment in the studio as they do with solo repertoire, engage more actively with the choral world and broaden the musical scope of vocal tuition
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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