GEORGE CRUMB (b. 1929)Apparition (1979)

Author(s):  
Jane Manning
Keyword(s):  

This chapter explores George Crumb’s cycle, Apparition. As a display piece and an evocation of fantasy and colour, the piece can prove enthralling for the listener. Here, the pianist is an equal partner, with a wide-ranging virtuoso role for one adept in modernist techniques, including using the inside of the piano. The piece also shows Crumb’s innate understanding of the voice and its timbral possibilities. Notation is often ‘free’ and spatial, and could appear challenging to the uninitiated, but it all turns out to be eminently practicable. Much use is made of elaborate melismas, including passages of rapid grace-notes, and the interval of a seventh seems to be especially favoured—the singer has to tune a great many of these, often exposed, and unaccompanied at a quiet dynamic.

2017 ◽  
Vol 23 (1) ◽  
Author(s):  
Robert C. Cook

George Crumb prefaces the score toAn Idyll for the Misbegottenwith a note identifying humankind as the “misbegotten,” rulers of an environmentally “dying world.” Crumb’s piece responds to these thoughts by evoking the “voice of nature.” To have a voice is to have acoustic agency, to have one’s presence acknowledged and heard. In this article, I explore what it means for nature and music to have voice in this sense, and how Crumb’sIdyllmay be heard to sing in nature’s voice. I investigate the role played in the work by a quotation of Debussy’sSyrinx, pertinent themes of voice and nature in the tales of Syrinx and Io by the Roman poet Ovid, and the aesthetic tendencies of American ecological thought, represented by Aldo Leopold. I show how Crumb subtly acknowledges the inseparability of culture and environmental impact, while simultaneously summoning listeners out into a soundscape in which Nature’s voices speak.


1984 ◽  
Vol 15 (1) ◽  
pp. 51-57
Author(s):  
Sandra Q. Miller ◽  
Charles L. Madison

The purpose of this article is to show how one urban school district dealt with a perceived need to improve its effectiveness in diagnosing and treating voice disorders. The local school district established semiannual voice clinics. Students aged 5-18 were referred, screened, and selected for the clinics if they appeared to have a chronic voice problem. The specific procedures used in setting up the voice clinics and the subsequent changes made over a 10-year period are presented.


2019 ◽  
Vol 4 (4) ◽  
pp. 607-614
Author(s):  
Jean Abitbol

The purpose of this article is to update the management of the treatment of the female voice at perimenopause and menopause. Voice and hormones—these are 2 words that clash, meet, and harmonize. If we are to solve this inquiry, we shall inevitably have to understand the hormones, their impact, and the scars of time. The endocrine effects on laryngeal structures are numerous: The actions of estrogens and progesterone produce modification of glandular secretions. Low dose of androgens are secreted principally by the adrenal cortex, but they are also secreted by the ovaries. Their effect may increase the low pitch and decease the high pitch of the voice at menopause due to important diminution of estrogens and the privation of progesterone. The menopausal voice syndrome presents clinical signs, which we will describe. I consider menopausal patients to fit into 2 broad types: the “Modigliani” types, rather thin and slender with little adipose tissue, and the “Rubens” types, with a rounded figure with more fat cells. Androgen derivatives are transformed to estrogens in fat cells. Hormonal replacement therapy should be carefully considered in the context of premenopausal symptom severity as alternative medicine. Hippocrates: “Your diet is your first medicine.”


ASHA Leader ◽  
2014 ◽  
Vol 19 (2) ◽  
pp. 22-23
Author(s):  
Kellie Rowden-Racette
Keyword(s):  

1982 ◽  
Vol 27 (9) ◽  
pp. 690-692 ◽  
Author(s):  
Janet Pierrehumbert ◽  
Mark Liberman

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