Style in Singing

Nonfiction, Entertainment, Music
Cover of the book Style in Singing by W. E. Haslam, B&R Samizdat Express
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: W. E. Haslam ISBN: 9781455300761
Publisher: B&R Samizdat Express Publication: December 15, 2009
Imprint: Language: English
Author: W. E. Haslam
ISBN: 9781455300761
Publisher: B&R Samizdat Express
Publication: December 15, 2009
Imprint:
Language: English
"In listening to a Patti, a Kubelik, a Paderewski, the reflective hearer is struck by the absolute sureness with which such artists arouse certain sensations in their auditors. Moreover, subsequent hearings will reveal the fact that this sensation is aroused always in the same place, and in the same manner. The beauty of the voice may be temporarily affected in the case of a singer, or an instrument of less aesthetic tone-quality be used by the instrumentalist, but the result is always the same. What is the reason of this? Why do great artists always make the same effect and produce the same impression on their public? Why, for instance, did the late Mme. Tietjens, when singing the following passage in Handel's _Messiah_, always begin with very little voice of a dulled quality, and gradually brighten its character as well as augment its volume until she reached the high _G_-[sharp] which is the culmination, not only of the musical phrase, but also of the tremendous announcement to which it is allied?"
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
"In listening to a Patti, a Kubelik, a Paderewski, the reflective hearer is struck by the absolute sureness with which such artists arouse certain sensations in their auditors. Moreover, subsequent hearings will reveal the fact that this sensation is aroused always in the same place, and in the same manner. The beauty of the voice may be temporarily affected in the case of a singer, or an instrument of less aesthetic tone-quality be used by the instrumentalist, but the result is always the same. What is the reason of this? Why do great artists always make the same effect and produce the same impression on their public? Why, for instance, did the late Mme. Tietjens, when singing the following passage in Handel's _Messiah_, always begin with very little voice of a dulled quality, and gradually brighten its character as well as augment its volume until she reached the high _G_-[sharp] which is the culmination, not only of the musical phrase, but also of the tremendous announcement to which it is allied?"

More books from B&R Samizdat Express

Cover of the book The Wit and Humor of America Volume 2 by W. E. Haslam
Cover of the book You Never Know Your Luck: being the story of a matrimonial deserter, a Canadian novel by W. E. Haslam
Cover of the book Kampagne in Frankreich (in the original German) by W. E. Haslam
Cover of the book The Motor Girls Through New England by W. E. Haslam
Cover of the book The Tragic Comedians: a Study in a Well-Known Story, all three volumes in a single file by W. E. Haslam
Cover of the book Echoes of the War by W. E. Haslam
Cover of the book The Land of the Blue Flower by W. E. Haslam
Cover of the book Egmont, a tragedy in five acts, in English translation by W. E. Haslam
Cover of the book The Fairy Book: The Best Popular Stories Selected and Rendered Anew by W. E. Haslam
Cover of the book Roger Willoughby, a Story of the Times of Benbow by W. E. Haslam
Cover of the book St. John's Eve by W. E. Haslam
Cover of the book Autobiography of a Pocket-Handkerchief by W. E. Haslam
Cover of the book Philosophy and Religion by W. E. Haslam
Cover of the book The Art of Stage Dancing, the story of a beautiful and profitable profession by W. E. Haslam
Cover of the book La Tosca, Drame en Cinq Actes by W. E. Haslam
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy