scholarly journals Bel Canto - 500 Years Young: A study in the practical application of ​bel canto​ technique to twentieth-century vocal works in English

2021 ◽  
Author(s):  
◽  
Pasquale Orchard
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Mother Tongue ◽  
Bel Canto ◽  
Practical Application ◽  
Classical Singing ◽  
History Of ◽  
Potential Benefits ◽  
Vocal Works ◽  
Shed Light

<p>As a young singer, it is inevitable that one is bombarded with the history of singing. ​Not only are we asked to listen to vocalists of previous ages, but we are also encouraged to analyse their methods and scrutinise their seminal performances in order to better identify the strengths of each singer​. Curious about the extent to which the lauded seventeenth and eighteenth-century ​bel canto vocal techniques hold relevance to contemporary classical singing and newer compositions, my research focused on whether these well-tried techniques are transferable. While the application of ​bel canto principles to the ​bel canto repertoire are clearly pertinent, my investigation concentrated on the feasibility and applicability of transferring these vocal techniques to modern repertoire, specifically songs and arias written in English, my mother tongue. This exegesis details my exploration of the application of such techniques to these two different sets of repertoire, and aims to shed light on the experience of the process of applying the ​bel canto ​principles to such works, and the potential benefits afforded by the practice of them.</p>

scholarly journals Bel Canto - 500 Years Young: A study in the practical application of ​bel canto​ technique to twentieth-century vocal works in English

2021 ◽  
Author(s):  
◽  
Pasquale Orchard
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Mother Tongue ◽  
Bel Canto ◽  
Practical Application ◽  
Classical Singing ◽  
History Of ◽  
Potential Benefits ◽  
Vocal Works ◽  
Shed Light

<p>As a young singer, it is inevitable that one is bombarded with the history of singing. ​Not only are we asked to listen to vocalists of previous ages, but we are also encouraged to analyse their methods and scrutinise their seminal performances in order to better identify the strengths of each singer​. Curious about the extent to which the lauded seventeenth and eighteenth-century ​bel canto vocal techniques hold relevance to contemporary classical singing and newer compositions, my research focused on whether these well-tried techniques are transferable. While the application of ​bel canto principles to the ​bel canto repertoire are clearly pertinent, my investigation concentrated on the feasibility and applicability of transferring these vocal techniques to modern repertoire, specifically songs and arias written in English, my mother tongue. This exegesis details my exploration of the application of such techniques to these two different sets of repertoire, and aims to shed light on the experience of the process of applying the ​bel canto ​principles to such works, and the potential benefits afforded by the practice of them.</p>

Imagining the Woman Reader in the Age of Dante

2018 ◽  
Author(s):  
Elena Lombardi
Keyword(s):  
Material Culture ◽  
Mother Tongue ◽  
The Other ◽  
Women Readers ◽  
Literary Authority ◽  
Woman Reader ◽  
History Of ◽  
Female Literacy ◽  
Female Audience ◽  
Shed Light

The literature of the Italian Due- and Trecento frequently calls into play the figure of a woman reader. From Guittone d’Arezzo’s piercing critic, the ‘villainous woman’, to the mysterious Lady who bids Guido Cavalcanti to write his grand philosophical song, to Dante’s female co-editors in the Vita Nova and his great characters of female readers, such as Francesca and Beatrice in the Comedy, all the way to Boccaccio’s overtly female audience, this particular sort of interlocutor appears to be central to the construct of textuality and the construction of literary authority in these times. The aim of this book is to shed light on this figure by contextualizing her within the history of female literacy, the material culture of the book, and the ways in which writers and poets of earlier traditions (in particular Occitan and French) imagined her. Its argument is that these figures of women readers are not mere veneers between a male author and a ‘real’ male readership, but that, although fictional, they bring several advantages to their vernacular authors, such as orality, the mother tongue, the recollection of the delights of early education, literality, freedom in interpretation, absence of teleology, the beauties of ornamentation and amplification, a reduced preoccupation with the fixity of the text, the pleasure of making mistakes, dialogue with the other, the extension of desire, original simplicity, and new and more flexible forms of authority.

3. The history of political thought and Marxism

2021 ◽  
pp. 31-50
Author(s):  
Richard Whatmore
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Working Class ◽  
Political Thought ◽  
Karl Marx ◽  
Historical Materialism ◽  
History Of Political Thought ◽  
Scientific Philosophy ◽  
History Of ◽  
Friedrich Engels

‘The history of political thought and Marxism’ focuses on Marxism, which became the most global and scientific philosophy in the twentieth century. An important figure here is Karl Marx, the outcast from Prussian Trier that famously contributed to the science of historical materialism. Marx’s The Condition of the Working Class in England justified revolution through a philosophy that emerged from reading European history. Marx, along with Friedrich Engels, accepted that the progress of commerce by the end of the eighteenth century made European states more powerful than others in history. Marx’s contemporaries believed that the study of societies in every stage of history is vital in understanding the future.

Introduction

2020 ◽  
pp. 1-147
Author(s):  
Stephen Menn ◽  
Justin E. H. Smith
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Early Modern ◽  
Detailed Analysis ◽  
The Political ◽  
Medical Philosophy ◽  
Archival Documents ◽  
History Of ◽  
Intellectual Context ◽  
Academic Dissertations

The life of Anton Wilhelm Amo is summarized, with close attention to the archival documents that establish key moments in his biography. Next the history of Amo’s reception is considered, from the first summaries of his work in German periodicals during his lifetime, through his legacy in African nationalist thought in the twentieth century. Then the political and intellectual context at Halle is addressed, considering the likely influence on Amo’s work of Halle Pietism, of the local currents of medical philosophy as represented by Friedrich Hoffmann, and of legal thought as represented by Christian Thomasius. The legacy of major early modern philosophers, such as René Descartes and G. W. Leibniz, is also considered, in the aim of understanding how Amo himself might have understood them and how they might have shaped his work. Next a detailed analysis of the conventions of academic dissertations and disputations in early eighteenth-century Germany is provided, in order to better understand how these conventions give shape to Amo’s published works. Finally, ancient and modern debates on action and passion and on sensation are investigated, providing key context for the summary of the principal arguments of Amo’s two treatises, which are summarized in the final section of the introduction.

Lessons in French

2021 ◽  
pp. 74-99
Author(s):  
Alison Rice
Keyword(s):  
Women Writers ◽  
French Literature ◽  
Mother Tongue ◽  
Literary Creation ◽  
Initial Exposure ◽  
Conscious Choice ◽  
History Of ◽  
New Form ◽  
Almost All ◽  
Shed Light

None of the writers in my study can call French, without hesitation and qualification, a mother tongue. Some of them didn’t start studying the language until they arrived in Paris in their twenties and grappled with learning a new form of expression at a relatively late age. When they recall their initial exposure to this foreign tongue, they describe a fascinating apprenticeship involving dictionaries and renowned works of French literature, and they often shed light on the distinction between oral and written competence in their experience. It is crucial to note that even those authors who have long been fluent in French underscore their non-native relationship to it. Chapter 3 addresses the approaches of these worldwide women writers to French and examines their inventive literary publications in this tongue. It is sensitive to the history of this language and its inextricable connection to a colonial past that many of these writers experienced or became aware of in their homeland. It also focuses on the reality that, for almost all of these authors, this is not the only tongue with which they are familiar. For multilingual individuals, selecting French as their language of literary creation is often the result of a conscious choice motivated by a particular affinity. What comes through in their reflections is most often a passion for this language and a confirmation of the freedom it affords them, as well as an affirmation of its inimitable music that makes it especially well-suited for creative compositions.

THE DISCOURSE OF SOUND

Tempo ◽  
2016 ◽  
Vol 70 (277) ◽  
pp. 5-15 ◽  
Author(s):  
Martin Kaltenecker
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Michel Foucault ◽  
Art Music ◽  
Sound Studies ◽  
Western Art ◽  
Compositional Styles ◽  
Technical Features ◽  
Shed Light

AbstractThis article offers a short overview of the development of listening theories concerning Western art music since the end of the eighteenth century. Referring to Michel Foucault, I consider such theories as discourses which produce ‘power effects', such as the training of listening attitudes, or the construction of specific spaces, such as the Festspielhaus in Bayreuth. During the eighteenth century, predominant discourses considered musical pieces as orations and, since the nineteenth century, as complex organisms or structures. In the last third of the twentieth century a focus on sound, evinced for instance by the field of ‘sound studies', has produced a new configuration that dissolves the prevailing model of structural listening. This perspective may shed light on some technical features of contemporary compositional styles, which I examine by considering the use of melodies, gestures and loops in two compositions by Fausto Romitelli and Simon Steen-Andersen.

Gender and the historiography of science

1993 ◽  
Vol 26 (4) ◽  
pp. 469-483 ◽  
Author(s):  
Ludmilla Jordanova
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
History Of Science ◽  
Cambridge University ◽  
Historiography Of Science ◽  
Logical Reason ◽  
Big Picture ◽  
History Of ◽  
Theoretical Issues ◽  
Intellectual Maturity

The production of big pictures is arguably the most significant sign of the intellectual maturity of a field. It suggests both that the field's broad contours, refined over several generations of scholarship, enjoy the approval of practitioners, and that audiences exist with an interest in or need for overviews. The situation is somewhat more complicated in the history of science, since the existence of big historical pictures precedes that of a well-defined scholarly field by about two centuries. Broadly conceived histories of science and medicine were being written in the eighteenth century, when such an all-encompassing vision was central to the claims about the progress of knowledge upon which Enlightenment ideologues set such store. The Plato to Nato style histories, characteristic of the earlier twentieth century, were written largely by isolated pioneers, and while these were used in teaching as the field was becoming professionalized, recent scholars have preferred to concentrate on a monographic style of research. Despite the existence of the series started by Wiley, and now published by Cambridge University Press, it is only in the last ten years or so that more conscious attempts have been made to generate a big-picture literature informed by new scholarship. It is noteworthy that most of this is addressed to students and general readers, although there is no logical reason why it should not tackle major theoretical issues of concern to scholars. My point about maturity still holds, then, since as a designated discipline the history of science is rather new; it is still feeling out its relationship with cognate disciplines. Big-picture histories have an important role to play in these explorations since they make findings and ideas widely available and thereby offer material through which ambitious interpretations can be debated, modified and transformed.

The politics of classical allusion at the end of the eighteenth century: radical or redundant?

2010 ◽  
Vol 56 ◽  
pp. 95-139
Author(s):  
Matthew Hiscock
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Classical Tradition ◽  
Basic Question ◽  
Hellenistic Period ◽  
Basic Assumptions ◽  
Classical Reception ◽  
History Of ◽  
Stark Contrast

My epigraphs offer a stark contrast in their basic assumptions about the place of classical allusion in eighteenth century writing. The second, published only last year in a series devoted to classical reception, implies that allusion – whether conscious or unconscious – is always ‘significant’; the first, fifteen years old and from the first number of the International Journal of the Classical Tradition, suggests that it is largely incidental and superficial. To be fair to Kennedy, the passage quoted above comes from an abbreviated history of classicism from the Hellenistic period to the twentieth century which could not be expected to offer a nuanced account of the nature of classical allusion in the various periods it discusses; but the basic question remains: is classical allusion in the eighteenth century ornamental or essential?

scholarly journals Terra firma : contemporary representations of the South African landscape

2004 ◽  
Author(s):  
◽  
Clinton De Menezes
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
South African ◽  
Physical Space ◽  
Historical Overview ◽  
Terra Firma ◽  
The South ◽  
Post Colonial ◽  
History Of ◽  
Contemporary Practice

This research aims to critically investigate the changing colonial and post-colonial attitudes towards the South African landscape, as physical space and its representation, through a post-colonial and Post-Modern critique. Chapter One explores the shifting colonial attitudes toward the landscape from the middle of the eighteenth century to the middle of the twentieth century, to provide an historical overview and context for contemporary practice. Section One defines colonialism for the purposes of this study and provides a brief history of colonialism in South Africa. Section Two provides a concise history of European visual representation from the middle of the eighteenth century to the middle of the twentieth century in order to contextualize the development of South African landscape painting. Section Three analyzes and evaluates changing colonial attitudes and their representation through a discussion of the work of Francois Le Vaillant (1753-1842), Thomas Baines (1820-1875) and J.H. Pierneef (1886-1957). Chapter Two explores attitudes towards the South African landscape between 1948 and 1994 in order to provide a link between colonial representation and post-colonial contemporary practice.

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