art song
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2021 ◽  
Vol 16 (2) ◽  
pp. 133
Author(s):  
Diah Iskafatmawati Saputri ◽  
Wihadi Admojo

AbstrakPenelitian ini membahas mengenai relasi makna leksikal lirik lagu pada kesenian rodad sekarwangi  yang terletak di desa Kendelban, Kecamatam Kemusu Kabupaten Boyolali. Jenis penelitian yang digunakan adalah deskriptif kualitatif. Teori yang digunakan adalah teori dari I Dewa Putu Wijana dan Josh Daniel Parera. Pengumpulan data diperoleh dari dokumentasi dan  diperkuat dengan wawancara serta observasi. Analisis data dilakukan dengan (1) mengumpulkan data dari lirik lagu kesenian rodad, (2) melakukan klasifikasi dari data yang termasuk ke dalam bagian relasi makna leksikal, (3) menyajikan data dalam bentuk tabel dan analisis, kemudian (4) menyimpulkan temuan data. Hasil penelitian menunjukkan, dalam lirik lagu kesenian rodad terdapat relasi makna leksikal berupa, antonimi 12 data, sinonimi 32 data makna denotasi sebanyak 72 data dan konotasi 13 data. Sehingga dapat disimpulkan, bahwa makna denotasi dominan guna mengetahu makna secara kongkrit sehingga merepresentasikan budaya masyarakat, agama masyarakat, kondisi bahasa, proses pembentukan kata dan penuturan yang berbeda. Kata kunci: semantik, relasi makna, rodad AbstractThis study discusses the relation of the lexical meaning of song lyrics in the Sekarwangi rodad art located in Kendelban village, Kemamatu Kemusu, Boyolali Regency. The type of research used is descriptive qualitative. The theory used is the theory of I Dewa Putu Wijana and Josh Daniel Parera. Data collection was obtained from documentation and strengthened by interviews and observations. Data analysis was performed by (1) collecting data from the lyrics of the rodad song, (2) classifying data included in the lexical meaning relation, (3) presenting data in tabular form and analysis, then (4) summarizing the data findings. The results showed, in the lyrics of the rodad art song there is a relation of lexical meaning in the form, antimony 12 data, synonym 32 data meaning denotation as much as 72 data and connotation of 13 data. So it can be concluded, that the meaning of the dominant denotation in order to find out the meaning concretely so that it represents the culture of the community, the religion of the people, the condition of the language, the process of word formation and different speech. Keywords: semantics, lexical relation, rodad  


2021 ◽  
Author(s):  
◽  
Imogen Thirlwall

<p>My experience of learning and performing Arnold Schoenberg’s song cycle, Das Buch der hängenden Gärten, can be explored through the lens of Foucault’s ‘docile bodies’ theory – that is, bodies that are ‘subjected, used, transformed, improved’. Participating in the disciplinary practice of self-policing, my obedience to the social, cultural and musical orders shaping western art song performance is enforced through self-imposed internalisation of normative practices and values. The singer’s body – my own body – is regulated in the Foucauldian sense; ‘disciplined’ through training and conditioning to align with normative practices, and, simultaneously, I act as ‘discipliner’ through self-imposed policing and monitoring of my body. The compulsive need to engage in the acts and processes of discipline implies inherent deficiency or deviance; the body must be transformed and ‘corrected’ through the processes of discipline that reflect the internalised value systems a body is measured against. In this exegesis, I explore my processes of self-regulation as disciplined and discipliner, investigating an intersection of ideals and tensions in my pursuit of technical command of vocal technique, obedience to the score, and the expectation of emotional abandon that an expressionist song cycle demands. Framed through narratives of ‘service’ and ‘prohibition’, I position the political anatomy of an eroticised, reproductive female body, exploring resistance and ‘rupture’ through the sexual agency of a disobedient and disruptive female singer.</p>


2021 ◽  
Author(s):  
◽  
Imogen Thirlwall

<p>My experience of learning and performing Arnold Schoenberg’s song cycle, Das Buch der hängenden Gärten, can be explored through the lens of Foucault’s ‘docile bodies’ theory – that is, bodies that are ‘subjected, used, transformed, improved’. Participating in the disciplinary practice of self-policing, my obedience to the social, cultural and musical orders shaping western art song performance is enforced through self-imposed internalisation of normative practices and values. The singer’s body – my own body – is regulated in the Foucauldian sense; ‘disciplined’ through training and conditioning to align with normative practices, and, simultaneously, I act as ‘discipliner’ through self-imposed policing and monitoring of my body. The compulsive need to engage in the acts and processes of discipline implies inherent deficiency or deviance; the body must be transformed and ‘corrected’ through the processes of discipline that reflect the internalised value systems a body is measured against. In this exegesis, I explore my processes of self-regulation as disciplined and discipliner, investigating an intersection of ideals and tensions in my pursuit of technical command of vocal technique, obedience to the score, and the expectation of emotional abandon that an expressionist song cycle demands. Framed through narratives of ‘service’ and ‘prohibition’, I position the political anatomy of an eroticised, reproductive female body, exploring resistance and ‘rupture’ through the sexual agency of a disobedient and disruptive female singer.</p>


2021 ◽  
Author(s):  
◽  
Will King

<p><b>Whom is a singer portraying when performing? While this is a straightforward question in opera where there is usually a concrete character to play, it is not always obvious in art song. The persona that the singer portrays in art song is not always clearly delineated: they may be a familiar figure, a nameless wanderer, a detached narrator, or even a disembodied consciousness. The outburst of singing may be an act of soliloquy or an internal thought process. It could occur as part of a chronological sequence of events or perhaps fall outside of time entirely. These portrayals require different embodied instincts from those in operatic singing.</b></p> <p>My exegesis explores some of the different kinds of vocal personae one can portray in art song performance. I posit a framework within which I categorise my personal methods of performance, relating to how an audience member might perceive these personae in relation to themselves. With reference to four selected solo vocal works, I detail how my application of this framework informs my performance, resulting in a unique embodiment of these abstract personae.</p>


2021 ◽  
Author(s):  
◽  
Will King

<p><b>Whom is a singer portraying when performing? While this is a straightforward question in opera where there is usually a concrete character to play, it is not always obvious in art song. The persona that the singer portrays in art song is not always clearly delineated: they may be a familiar figure, a nameless wanderer, a detached narrator, or even a disembodied consciousness. The outburst of singing may be an act of soliloquy or an internal thought process. It could occur as part of a chronological sequence of events or perhaps fall outside of time entirely. These portrayals require different embodied instincts from those in operatic singing.</b></p> <p>My exegesis explores some of the different kinds of vocal personae one can portray in art song performance. I posit a framework within which I categorise my personal methods of performance, relating to how an audience member might perceive these personae in relation to themselves. With reference to four selected solo vocal works, I detail how my application of this framework informs my performance, resulting in a unique embodiment of these abstract personae.</p>


2021 ◽  
Vol 12 (4) ◽  
pp. 91
Author(s):  
S. Bharadwaj

In the poem “In the White Giant’s Thigh,” Dylan Thomas projects the contemporary poets’ wild passion for Eliotian amoral art song and their suffering and the contradistinction of his own occasional love of Yeatsian Grecian altruistic art song and his delight. The poem is at bottom optimistic as it offers the metaphysical and the metempirical wild lovers an alternative process of art song and also carries salvation to transcend their sorrowful failure. It is Thomas’s faith in the Yeatsian process of transfiguration and transformation, the possibility of deliverance from the bondage of experience and ignorance that assures him of success and appeal in his art songs, that Auden repudiates in his metaphysical process of transgression and transmigration and his immortal vision of aesthetic amoral art song. The poem implies that Auden, as a result of his continual ignorance of the human reality of life and death, his stoic love of metaphysical art and reality, loses his grandeur and literary reputation and stoops to the level of a common man susceptible to hatred and indignation, violence and vengeance like the victims of his art songs, the political, the war and the Movement poets who remain equally ignorant of the metaphysical process and the reality of breath and death.


2021 ◽  
Vol 78 (1) ◽  
pp. 47-54
Author(s):  
Kelci Kosin

Contemporary arias in English are too often excluded from student repertoire because they are perceived as being overly complex atonal works that are too challenging for the student. In order to counter this misconception, voice teachers should foster curiosity within students to seek repertoire with an open mind. Exploring music of living composers such as Daron Hagen can ignite student interest in contemporary art song and opera literature that expands the realms of what is thought to be traditional or appropriate vocal repertoire for students seeking a professional singing career.


2021 ◽  
Vol 78 (1) ◽  
pp. 29-45
Author(s):  
Amanda Cole

Portuguese art song is an underexplored niche in the song recital repertoire. One factor that makes it difficult for singers to make sense of it is the limited information on Portuguese culture. In this discussion of the music of Fragoso and the texts of António Correia de Oliveira in relation to the cycle Canções do Sol Poente (Songs of the Setting Sun), the author provides cultural and historical information with particular reference to the Portuguese concept of saudade, with discussion on how saudade is intertwined with the movements of nationalism, neoromanticism, and saudadismo of the 1890s that led to the Portuguese revolution in 1911 and the subsequent blossoming of creative arts in the nation.


2021 ◽  
pp. 150-152
Author(s):  
David Evans

In this chapter I compare settings of Verlaine’s ‘La Lune blanche’ (‘The White Moon’) by composers of different nationalities (Delius, Webern, Sorabji, Loomis, Nevin, Loeffler, Hennessy, Poldowski, McEwen, Szulc, Stravinsky) in order to show how different ideas of French song – and of art song itself – emerge through the multiple dialogues of its transnational crossings. Two opposing approaches become clear: on the one hand, songs which maintain a reverence towards the source text as a symbol of the cultural cachet which French mélodie has enjoyed since its 1880-1930 heyday; and on the other, songs which offer a curiously unplaceable musical material, staking a claim for music as an mode of articulation which functions independently from language and, indeed, from national identities which are always in danger of falling into repetition, cliché, and pastiche. This latter mode, I suggest, comes closest to the real heart of mélodie as understood by its foremost French purveyors, Fauré and Debussy, and which composers like Stravinsky draw out of Verlaine’s text: a conception of song as an art form uniquely placed to offer a critique of fixed national paradigms and stable interpretative systems, by constantly calling into question, through their formal complexities, the very processes by which meaning itself is produced.


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