Alone together: vocal ensemble practice seen through the lens of Neue Vocalsolisten Stuttgart
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Abschlussarbeit Buch |
| Sprache: | English |
| Veröffentlicht: |
Oslo
Norwegian Academy of Music
2015
|
| Schriftenreihe: | NMH-publikasjoner
2015,3 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | XII, 333 S. Notenbeisp. |
| ISBN: | 9788278532034 |
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Datensatz im Suchindex
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| adam_text | Contents
Acknowledgements iii
Abstract V
1 Introduction 1
1.1 Background 1
1.2 Explanations of terms used in this study 2
1.2.1 The term Vocal ensemble 2
1.2.2 The genre focus of this study 5
1.3 The focus of this study and research questions 5
2 The structure of this thesis and knowledge status 9
2.1 The structure of this thesis 9
2.2 Knowledge status 10
2.2.1 Research and literature on vocal ensembles 11
2.2.2 Vocal ensemble in vocal technique literature 12
2.2.3 Vocal ensembles in the literature on choral singing 13
2.2.4 Historical sources on vocal ensembles 14
2.3 Conclusions 15
3 Theoretical framework 17
3.1 How much can we actually tell? 17
3.2 Knowledge management on an organizational level 24
3-3 The question about practice 26
Vll
Frank Havr0y: Alone Together
3 4 A vocal ensemble as a community of practice 29
3.5 Identity in practice 32
3- 6 Conclusions 35
4 Method 39
4.1 My role as researcher and author 40
4.2 Case study design 42
4 3 Research interviews 45
4- 3.1 Interviews, round 1, NVS June 2009 47
4-3-2 Interviews, round 2, NVS May 2010 and Sept. 2010 49
4.3.3 Interviews, England Dec. 2011 50
4-4 Observations 51
4-4-1 Observation NVS and I Fagiolini 52
4-4.2 The Stemklang project 54
4.5 Document analysis 56
4.6 Other methods involved in this study 58
4.7 Ethical challenges 59
4- 8 Validity, reliability, and generalization 61
4.9 Conclusions 63
5 The vocal ensemble in music history 65
5.1 Vocal ensemble practice in music history 67
5.1.1 Before 1650, from vocal ensembles to choirs? 68
5- 1-2 1650-1800 and the reduced significance
of vocal ensemble practice 75
5.1.3 The nineteenth century.
The disappearance of a practice? 77
5.1.4 1900-1945 80
5.1.5 The early music movement, modernism,
and the new vocal ensemble era 83
5.2 Different singing styles 87
5 3 So why the big gap? 88
5.4 Conclusions 92
6 Neue Vocalsolisten Stuttgart 95
6.1 The beginning of NVS and its organization 96
6.2 The ensemble, its members,
and the turn towards a one-voice-per-part
vocal ensemble
vin
Contents
6.2.1 The members 101
6.2.2 The turn towards a one-voice-per-part vocal ensemble 103
6.2.3 NVS and its place in German musical life 105
6.3 For the love of it 107
6.3.1 The official presentation of NVS 108
6.3.2 Together towards a common goal?
The singers look at themselves 110
6.3.3 For the love of it 112
6.4 NVS counterpart ֊ The Hilliard Ensemble 113
6.5 Conclusions 115
7 Soloist or chorister
or something in between -
the voice as an ensemble instrument 119
7.1 NVS ֊ classical singers 121
7-1-1 Classical Singing 122
7.2 Soloist or chorister 127
7.2.1 The voice in solo mode versus choir mode 133
7.2.2 The role of vibrato in the different singing modes 141
7.2.3 Sometimes a soloist, sometimes a chorister.
The vocal ensemble balancing act. 149
7.3 Extended vocal techniques (EVT),
the outer layer of the NVS singing 152
7-3.1 A model of the NVS singing 157
74 Conclusions 157
8 Intonation 161
8.1 Pitch production and its challenges 162
8.2 Tuning and temperament 163
8.3 Singers and intonation choices 166
8.4 The horizontal and vertical aspect of intonation 169
8.4.1 Balancing the horizontal and the vertical aspect of intonation 170
8.5 Constructed tonalities 173
8.6 How intonation work influences
ensemble performance 178
8.6.1 Communication and intonation 178
8.6.2 Voice technique 179
8.7 Conclusions 180
ix
183
185
188
191
195
199
202
203
205
206
207
212
213
214
216
219
219
222
224
227
229
231
232
235
236
239
241
244
248
250
253
254
256
258
261
261
265
Frank Havray: Alone Together
Communication
Performer-audience communication
Performer-audience communication and NVS
Performer-performer communication
Performer-performer communication and NVS
Listening or looking or both?
The use of a conductor in NVS
An analysis of a performance of NVS
The piece analyzed and the preparations
Analysis method
Results and discussions
Analysis of two solo performances
The pieces analyzed
Results and discussions
Conclusions
Neue Vocalsolisten Stuttgart at work
Rehearsals
Structure
Personal preparation
Collaboration
Techniques
Evaluation of rehearsals
A brief analysis of a rehearsal
Concerts
Theories on live performance
Performances in the context of NVS
Proto-performance
Performance and aftermath
What about other ensembles?
Conclusions
Colleagues and friends
A company of joint responsibilities
Close relations
Changing members and becoming a member
Conflicts in NVS and how they solve them
Types of conflicts...
...and their solutions
Contents
11.5 What about other ensembles? 268
11.6 Conclusions 270
12 Conclusions and discussions 273
12.1 The term practice
and Neue Vocalsolisten Stuttgart 274
12.2 Self-conception ofthe singers ofNVS 277
12.3 The various elements of
the vocal ensemble practice 278
12.4 The dream of the gala-dress
and some humble recommendations 282
12.5 Concluding words 285
Literature 287
Music scores 302
Music recordings 303
Appendices 305
Appendix 1: Interviewguides 305
INTERVIEW GUIDE I 305
INTERVIEW GUIDE II 307
Appendix 2: Norwegian Social Science Data Services 310
Appendix 3: Score analysis of Ronchetti, Lucia:
Coins and Cross es, a Yessong (2007)
For Chapter 9: Communication 311
Appendix 4: Score analysis of Bach, J.S.: Cantata 170,
Vergnügte Ruh, beliebte Seelenlust (BWV170), Aria.
For Chapter 9: Communication 317
Appendix 5: Score analysis of Schubert, Franz:
Das Wandern (Die Schöne Müllerin), D.795.
For Chapter 9: Communication 324
Appendix 6: Personal note - story about a concert of NVS 330
xi
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| spellingShingle | Havrøy, Frank 1969- Alone together vocal ensemble practice seen through the lens of Neue Vocalsolisten Stuttgart NMH-publikasjoner Neue Vocalsolisten Stuttgart (DE-588)5238001-4 gnd Gesangstechnik (DE-588)4156939-8 gnd Neue Musik (DE-588)4428235-7 gnd Interpretation (DE-588)4072905-9 gnd |
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| title | Alone together vocal ensemble practice seen through the lens of Neue Vocalsolisten Stuttgart |
| title_auth | Alone together vocal ensemble practice seen through the lens of Neue Vocalsolisten Stuttgart |
| title_exact_search | Alone together vocal ensemble practice seen through the lens of Neue Vocalsolisten Stuttgart |
| title_full | Alone together vocal ensemble practice seen through the lens of Neue Vocalsolisten Stuttgart Frank Havrøy |
| title_fullStr | Alone together vocal ensemble practice seen through the lens of Neue Vocalsolisten Stuttgart Frank Havrøy |
| title_full_unstemmed | Alone together vocal ensemble practice seen through the lens of Neue Vocalsolisten Stuttgart Frank Havrøy |
| title_short | Alone together |
| title_sort | alone together vocal ensemble practice seen through the lens of neue vocalsolisten stuttgart |
| title_sub | vocal ensemble practice seen through the lens of Neue Vocalsolisten Stuttgart |
| topic | Neue Vocalsolisten Stuttgart (DE-588)5238001-4 gnd Gesangstechnik (DE-588)4156939-8 gnd Neue Musik (DE-588)4428235-7 gnd Interpretation (DE-588)4072905-9 gnd |
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