DON KAY (b. 1934)Four Bird Songs from Shaw Neilson (2005)

2021 ◽  
pp. 120-122
Author(s):  
Jane Manning
Keyword(s):  
Natural World ◽  
Folk Song ◽  
Bird Songs ◽  
Close Affinity ◽  
Standard Notation ◽  
The Voice ◽  
Vaughan Williams

This chapter describes Tasmanian composer Dan Kay’s Four Bird Songs from Shaw Neilson (2005). The texts for this pleasing, fluent cycle are by the farmworker-poet Shaw Neilson, and reflect his close affinity with the natural world, especially the life of waterbirds. Kay’s palpable empathy with these unsophisticated but burningly sincere poems draws music of clarity and refinement. The frequent modal melodies and minor harmonies cannot help but call to mind Vaughan Williams and the English folk-song tradition, but Kay manages to inject an individual flavour by means of chromatic shifts and varied rhythms, especially in the last two, slightly longer, songs. A light young baritone with a safe high register would be ideal here. The piano writing is clear and uncluttered, with simple, repeated figurations, and there is no need to force the voice. Standard notation is used throughout.

scholarly journals Carl Nielsen and the Idea of English National Music

2012 ◽  
Vol 5 ◽  
Author(s):  
Michael Fjeldsøe ◽  
Jens Boeg
Keyword(s):  
Theoretical Background ◽  
Folk Song ◽  
Ralph Vaughan Williams ◽  
English Music ◽  
A Value ◽  
Good Music ◽  
National Music ◽  
English Composers ◽  
Hearts And Minds ◽  
Vaughan Williams

Why did Carl Nielsen achieve such a favourable reception in England from the 1950s on, compared to the rather reluctant recognition in continental Europe? We would suggest that one reason could be an affi nity of features in his music with the concept of English national music. This attempt to discuss the British reception of Nielsen does, of course, not imply that Nielsen’s music is English. From a constructivist position, national musics are based on cultural common-views in a population of people identifying themselves with a certain concept of a nation which they regard their own. The concept of English national music had Ralph Vaughan Williams as chief engineer and champion. Based on Cecil J. Sharp’s scientific investigation of the English folk song, Vaughan Williams developed a theoretical background on which English composers could (and later would) create their compositions, and his thoughts became prevalent through the English musical establishment. Such ideas of English music did not by accident or as some kind of revelation find their way to the hearts and minds of English listeners and critics. The success was due to a deliberate effort by a national movement, and a most crucial feature was the introduction of folk song singing in elementary schools, instilling these particular views into following generations of listeners. Though mainly concerned with the music of England, Vaughan Williams’ ideas were not limited by nationality as such, but were general guidelines for every composer in every nation of the world. In many ways Nielsen’s music can be seen to fi t Vaughan Williams’ characteristics for good music. When fi rst established, ideas of national music are embedded in a value system that considers such music of high quality and thus music – like Nielsen’s – which has affi nities with the image of English national music, is more likely to be recognized and appreciated as ‘good’.

Painted Gems. The Color Worlds of Portrait Miniature Painting in Sixteenth- and Seventeenth-Century Britain

2015 ◽  
Vol 20 (4-6) ◽  
pp. 428-457 ◽  
Author(s):  
Karin Leonhard
Keyword(s):  
Seventeenth Century ◽  
Natural World ◽  
Painting Technique ◽  
Close Affinity ◽  
Miniature Painting ◽  
Light And Shadow ◽  
Relationship Of ◽  
The Relationship ◽  
Precious Stones

It has been argued persuasively that we should see the art of the portrait miniaturist as being closely related to the art of the goldsmith – with the painted ‘jewel’ of the portrait set into a richly ornamented piece of jewelry. Indeed, there is a close affinity between Nicholas Hilliard’s art of portrait miniature painting and goldsmithery. His Treatise’s famous section devoted to precious stones reflects this idea, as it is concerned with the relationship of those stones to the colors used in the miniatures, colors that can be seen as surrogates for the stones themselves. Color, light and shadow – these three aspects of how to render the natural world into paint are closely related: it is the complexity of the relationship that demanded a painting technique that took care not to create chia­roscuro-effects and specifically not let color be ‘corrupted’ by shadows or ‘mixed’ with other colors.


Obscenity and the Voice

2018 ◽  
Author(s):  
Chris Forster
Keyword(s):  
Social Cohesion ◽  
Folk Song ◽  
Social Health ◽  
Music Hall ◽  
The Voice

This chapter argues that an oral mode of textual circulation, which T. S. Eliot discovered both in obscene, comic, bawdy folk song and in music hall performance, provided him with a vision of social cohesion that contrasts with the fragmentation that is otherwise central to his work. The ability of these genres to figure an otherwise lost social cohesion, however, reflects the fact that they are spaces where men bonded and created a sense of homosocial community. Eliot’s published comments on obscenity confirm his valuation of the comic or humorous obscene as a mode and index of social health; but the instances where Eliot discovers this cohesion are predicated on the exclusion of women.

CHERYL FRANCES-HOAD (b. 1980)One Life Stand (2011)

2021 ◽  
pp. 80-85
Author(s):  
Jane Manning
Keyword(s):  
Major Work ◽  
Standard Notation ◽  
Key Points ◽  
Voice And Piano ◽  
The Voice ◽  
Frauenliebe Und Leben ◽  
Extended Vocal Techniques

This chapter addresses Cheryl Frances-Hoad’s One Life Stand (2011). This major work was conceived as a companion piece to Schumann’s loved cycle Frauenliebe und Leben, Op. 42 (1830). It sets eight vivid contemporary poems by Sophie Hannah—charting the often turbulent emotional journey experienced by the present-day woman in love—in starkest contrast to the more conventional, submissive attitudes portrayed in the Schumann. Each song subtly, even obliquely, evokes a movement of the Schumann, ingeniously mirroring aspects of its musical setting, particularly in the relationships between voice and piano. It constitutes a compelling narrative of contemporary feminine experience, and a rewarding tour de force for a mezzo and pianist of interpretative and technical accomplishment. The work is written in standard notation and the voice part, set straightforwardly with a few curving melismas at key points, eschews extremes of range and ‘extended vocal techniques’. The singer will, however, need to call on reserves of stamina for some lengthy high-lying passages, although there is plenty of light relief in the fast movements with their quicksilver parlando delivery.

Vaughan Williams: Nationalism and Folk Song

Ars Nova ◽  
1972 ◽  
Vol 4 (1) ◽  
pp. 21-34
Author(s):  
G. King
Keyword(s):  
Folk Song ◽  
Vaughan Williams

Polite Patriotism: The Edwardian Gentleman in English Music, 1904 to 1914

2018 ◽  
Vol 16 (3) ◽  
pp. 383-416
Author(s):  
Paul Hopwood
Keyword(s):  
High Tide ◽  
Folk Song ◽  
National Character ◽  
Upper Lip ◽  
Methodological Basis ◽  
English Music ◽  
Musical Activity ◽  
Musical Rhetoric ◽  
Nationalist Sentiment ◽  
Vaughan Williams

In Edwardian England many of the most widely acknowledged qualities of the national character coalesced around the figure of the English gentleman. One of his defining features was his emotional restraint, his ‘stiff upper-lip’. But these were also years during which patriotic and even nationalist sentiment rose to a high tide, and there was considerable tension between the whole-hearted expression of nationalism and the restrain demanded by gentlemanly manners. This article explores this tension as it was staged and negotiated in the folk-song rhapsodies and nature portraits by Vaughan Williams, Holst, Delius and others during the years from 1904 to 1914. As a methodological basis the article adopts the notion of musical subjectivity – that is, the idea that music can offer a virtual persona with which the listener is invited to identify, and as whom he or she may participate in the musical activity. In this context it is possible to identify aspects of musical rhetoric, namely, the manners which regulate the interaction between the virtual subjectivity and the listener. Ultimately the article suggests that it is the embodiment of gentlemanly manners, every bit as much as the use of folk-song or the representation of English landscape, that accounts for the particularly English quality commonly identified in this music.

scholarly journals More Virulent Than Disease

2020 ◽  
Vol 11 (1) ◽  
pp. 188-191
Author(s):  
Stephanie Gage
Keyword(s):  
Historical Novel ◽  
Scientific Work ◽  
The United States ◽  
Natural World ◽  
Nobel Prize Winner ◽  
Head Physician ◽  
The Tropics ◽  
The Voice ◽  
Journal Entries ◽  
Ramón Y Cajal

            “More Virulent than Disease” is a chapter from the historical novel, Painted Butterflies. This excerpt is written through the voice of Santiago Ramon y Cajal (1852 – 1934), Nobel Prize Winner, who is credited with being “The Father of Modern Neuroscience.” In this piece, Santiago is in his mid-twenties recounting the four years since his return from the Separatist War in Cuba (Ten Years War), where he served as a head physician in a remote jungle hospital. Here, he ruminates about his recovery from illnesses which he acquired in the tropics, from which he barely survived. His hopefulness, his need for artistic expression, his passion for the natural world and the courage he observed from others brought Santiago through one of the darkest periods of his life.  Painted Butterflies follows the life and scientific work of Santiago Ramon y Cajal through his journal entries. His story is expressed through his 19th century lens, but is also seen through the eyes of a modern, fictional neuroscientist, Rebecca Calhoun, who is navigating graduate school in the United States. Across two centuries and continents, these scientists discover themselves and what drives their passions for living deeply and the excitement of discovery. When Santiago’s journal falls mysteriously into Rebecca’s hands, they become connected by a scientific theory, spurned by Santiago’s prescience into how memory works. As if Santiago is whispering in her ear, Rebecca pursues her idea on how to enhance the brain’s capacity for memory (and succeeds), but there is a caveat that takes her findings to an unexpected and more personal place.

scholarly journals Osobowość ekologiczna płci - badania ankietowe

2008 ◽  
Vol 6 (1) ◽  
pp. 15-52
Author(s):  
Irena Grochowska
Keyword(s):  
Natural Environment ◽  
Natural World ◽  
Personality Types ◽  
Abnormal State ◽  
Clean Environment ◽  
Clean Air ◽  
Survey Results ◽  
The Will ◽  
The Voice ◽  
Rational Type

After analysing the above answers we can deduct some results, which confirm certain behaviour in girls that can be scientifically explained. A survey helped in establishing ecological consciousness and was a help in characterizing a survival persona. Looking at the answers with inclusion of two different sexes we can follow differences in the views concerning environmental protection, the survey results clearly show a difference in approach to the natural environment depending on the sex. Women more clearly see the beauty, harmony and set order in the environment. Nature astonishes them and is a guarantee of life. Analysing the survey results it is not possible not to see the differences in viewing the natural environment. Quoting Estes we can say that mature woman (surviving woman) looking at a forest sees a home for herself and other people, whilst others looking at the same forest imagine cutting down trees and making money on it. Clean environment allowing life is like air necessary to live and you can only breathe deeply with clean air. It is similar with woman’s psyche where a mechanism of full breath operates and forces her to breathe in the fresh air. The research results confirmed that girls show more concern about harmony and complexity of the natural world and definitely at every opportunity become protectors of life. So a smaller extend that boys they support technological and technical development, they do not see it as a solution to problems connected with degradation of environment. If you would like to separate pro environment personality types taking into account these characteristic for boys and girls, based on the performed survey, we can present: Rational type , scientific thinker and technocrat, consumer, which is dominant in boys answers and emotional type, esthetic environmentalist which is dominant within girls answers. Woman can show man how to admire nature, how to develop sensitivity and open ones eyes to new perspectives, whose theoretical author is often he himself. It is women who with their hearts read and introduce into life philosophical life and written theological works whose authors are men. Woman’s task is activity connected with protecting the wisdom of soul, not to accept abnormal state for normal and to hale the courage to celebrate natural forces with elements of Her soul and life, which a priceless treasure of each woman. When women do not follow their voice when intervening in unacceptable situations her views fade, her nature fades and natural world. Love fades as well as the will to repair the world and harmony with nature, The Word lacks fresh air and water, but also the voice of consciousness. Research I have performed confirmed the thesis I had made and allows to precise the desired personality characteristics, needed to shape a survival personality.

scholarly journals A Comparative Review on Object Detection System for Visually Impaired

2021 ◽  
Vol 12 (2) ◽  
pp. 1598-1610
Author(s):  
Dr K Sreenivasulu, Et. al.
Keyword(s):  
Character Recognition ◽  
Optical Character Recognition ◽  
Detection System ◽  
Voice Quality ◽  
Natural World ◽  
Blind People ◽  
Visual Disability ◽  
Comparative Review ◽  
Audio Output ◽  
The Voice

Vision is one of the key senses allowing citizens to communicate with the natural world. There are about two hundred million blind people globally and visually disabled people obstruct numerous everyday practices. It is also really critical that blind people recognize their world and realize with which items they communicate. This paper review all the method and tool related to camera-based device to enable the blind person interpret text patterns written on items kept in hand.  This is the system for helping individuals with visual disability interpret and translate text patterns to the audio output. The framework first suggests the approach to take an image from the camera and the area of the target to retrieve the object from the context and derive a text pattern from that object. Diffrent algorithm is assessed in various scenes. The observed text is linked to the blueprint and translated into the performance of the voice. Localized and binarized text patterns utilising Optical Character Recognition (OCR). The text is translated to an audio output. The voice quality is given to theblind person.  

DEREK HOLMAN (1931–2019)The Centred Passion (1986)

2020 ◽  
pp. 128-131
Author(s):  
Jane Manning
Keyword(s):  
Deep Understanding ◽  
Physical Nature ◽  
Clear Sense ◽  
Standard Notation ◽  
Frequent Use ◽  
In Memoriam ◽  
The Voice

This chapter examines The Centred Passion by Derek Holman. This beautifully crafted cycle shows flair and spontaneity, and a deep understanding of the physical nature of the voice. The idiom is quasi-tonal, with frequent use of wide intervals such as ninths and thirteenths. Furthermore, chromatic intervallic relationships with the piano need careful tuning at all times. Each of the six settings from Alfred Tennyson’s In Memoriam A.H.H. (1849) has its own distinct flavour, and the idiomatic keyboard parts are accordingly well varied, with a clear sense of balance and layout. Standard notation is used, but without key signatures. The cycle should prove an absorbing experience for both performers and listeners.

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