Vocal authority: singing style and ideology
Why do singers sing in the way they do? Why, for example, is western classical singing so different from pop singing? How is it that Freddie Mercury and Montserrat Caballé could sing together? These are the kinds of questions which John Potter, a singer with the Hilliard Ensemble and Red Byrd, and h...
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| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Cambridge
Cambridge University Press
1998
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| Schlagworte: | |
| Online-Zugang: | BSB01 UBG01 URL des Erstveröffentlichers |
| Zusammenfassung: | Why do singers sing in the way they do? Why, for example, is western classical singing so different from pop singing? How is it that Freddie Mercury and Montserrat Caballé could sing together? These are the kinds of questions which John Potter, a singer with the Hilliard Ensemble and Red Byrd, and himself the master of many styles, poses in this fascinating book, which is effectively a history of singing style. He finds the reasons to be primarily ideological rather than specifically musical. His book identifies particular historical 'moments of change' in singing technique and style, and relates these to a three-stage theory of style based on the relationship of singing to text. There is a substantial section on meaning in singing, and a discussion of how the transmission of meaning is enabled or inhibited by different varieties of style or technique |
| Beschreibung: | Title from publisher's bibliographic system (viewed on 05 Oct 2015) |
| Beschreibung: | 1 online resource (xvi, 217 pages) |
| ISBN: | 9780511470226 |
| DOI: | 10.1017/CBO9780511470226 |
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| 520 | |a Why do singers sing in the way they do? Why, for example, is western classical singing so different from pop singing? How is it that Freddie Mercury and Montserrat Caballé could sing together? These are the kinds of questions which John Potter, a singer with the Hilliard Ensemble and Red Byrd, and himself the master of many styles, poses in this fascinating book, which is effectively a history of singing style. He finds the reasons to be primarily ideological rather than specifically musical. His book identifies particular historical 'moments of change' in singing technique and style, and relates these to a three-stage theory of style based on the relationship of singing to text. There is a substantial section on meaning in singing, and a discussion of how the transmission of meaning is enabled or inhibited by different varieties of style or technique | ||
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| contents | Classical ideology and the pre-history of singing -- The medieval period: religion, literacy and control -- The Italian baroque revolution -- The development of the modern voice -- Concerts, choirs and music halls -- Armstrong to Sinatra: swing and sub-text -- Early music and the avant-garde: twentieth-century fragmentation -- Elvis Presley to rap: mements of change since the forties -- Singing and social processes -- Towards a theory of vocal style |
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| dewey-full | 783/.043 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 783 - Music for single voices |
| dewey-raw | 783/.043 |
| dewey-search | 783/.043 |
| dewey-sort | 3783 243 |
| dewey-tens | 780 - Music |
| discipline | Musikwissenschaft |
| doi_str_mv | 10.1017/CBO9780511470226 |
| format | Electronic eBook |
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| isbn | 9780511470226 |
| language | English |
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| spelling | Potter, John Verfasser aut Vocal authority singing style and ideology John Potter Cambridge Cambridge University Press 1998 1 online resource (xvi, 217 pages) txt rdacontent c rdamedia cr rdacarrier Title from publisher's bibliographic system (viewed on 05 Oct 2015) Classical ideology and the pre-history of singing -- The medieval period: religion, literacy and control -- The Italian baroque revolution -- The development of the modern voice -- Concerts, choirs and music halls -- Armstrong to Sinatra: swing and sub-text -- Early music and the avant-garde: twentieth-century fragmentation -- Elvis Presley to rap: mements of change since the forties -- Singing and social processes -- Towards a theory of vocal style Why do singers sing in the way they do? Why, for example, is western classical singing so different from pop singing? How is it that Freddie Mercury and Montserrat Caballé could sing together? These are the kinds of questions which John Potter, a singer with the Hilliard Ensemble and Red Byrd, and himself the master of many styles, poses in this fascinating book, which is effectively a history of singing style. He finds the reasons to be primarily ideological rather than specifically musical. His book identifies particular historical 'moments of change' in singing technique and style, and relates these to a three-stage theory of style based on the relationship of singing to text. There is a substantial section on meaning in singing, and a discussion of how the transmission of meaning is enabled or inhibited by different varieties of style or technique Singing / Interpretation (Phrasing, dynamics, etc.) Singing / Instruction and study Vocal music / History and criticism Geschichte (DE-588)4020517-4 gnd rswk-swf Singen (DE-588)4124195-2 gnd rswk-swf Singen (DE-588)4124195-2 s Geschichte (DE-588)4020517-4 s 1\p DE-604 Erscheint auch als Druckausgabe 978-0-521-02743-4 Erscheint auch als Druckausgabe 978-0-521-56356-7 https://doi.org/10.1017/CBO9780511470226 Verlag URL des Erstveröffentlichers Volltext 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Potter, John Vocal authority singing style and ideology Classical ideology and the pre-history of singing -- The medieval period: religion, literacy and control -- The Italian baroque revolution -- The development of the modern voice -- Concerts, choirs and music halls -- Armstrong to Sinatra: swing and sub-text -- Early music and the avant-garde: twentieth-century fragmentation -- Elvis Presley to rap: mements of change since the forties -- Singing and social processes -- Towards a theory of vocal style Singing / Interpretation (Phrasing, dynamics, etc.) Singing / Instruction and study Vocal music / History and criticism Geschichte (DE-588)4020517-4 gnd Singen (DE-588)4124195-2 gnd |
| subject_GND | (DE-588)4020517-4 (DE-588)4124195-2 |
| title | Vocal authority singing style and ideology |
| title_auth | Vocal authority singing style and ideology |
| title_exact_search | Vocal authority singing style and ideology |
| title_full | Vocal authority singing style and ideology John Potter |
| title_fullStr | Vocal authority singing style and ideology John Potter |
| title_full_unstemmed | Vocal authority singing style and ideology John Potter |
| title_short | Vocal authority |
| title_sort | vocal authority singing style and ideology |
| title_sub | singing style and ideology |
| topic | Singing / Interpretation (Phrasing, dynamics, etc.) Singing / Instruction and study Vocal music / History and criticism Geschichte (DE-588)4020517-4 gnd Singen (DE-588)4124195-2 gnd |
| topic_facet | Singing / Interpretation (Phrasing, dynamics, etc.) Singing / Instruction and study Vocal music / History and criticism Geschichte Singen |
| url | https://doi.org/10.1017/CBO9780511470226 |
| work_keys_str_mv | AT potterjohn vocalauthoritysingingstyleandideology |