AN UNKNOWN TRIBUTE BY FARINELLI TO KING PHILIP V OF SPAIN

ABSTRACTCarlo Broschi, better known as Farinelli, arrived in Madrid on 7 August 1737. King Philip V and his wife Elisabeth Farnese were deeply impressed by his vocal qualities and invited him to remain in their service, on extremely rewarding terms. Although few sources concerning his first months in Spain are available, a newly discovered libretto, L'ombra di Luigi XIV il Grande, sheds light on his position at the Spanish court and his response to the privileged situation he enjoyed. The work is a short solo cantata commissioned by Farinelli and offered to Philip V for his name day in 1738. The title-page indicates Francesco Feo as the composer, but no sources for the musical setting have yet been located, nor any information about a performance of the work. This article examines the content of the cantata's text and situates it within what is known about the life of Farinelli. It also reconstructs in detail the literary career of the author of the text, Giuseppe di Rosa, who was also a magistrate and historian. Additionally, it links the genesis of this encomiastic piece with the activity of Giovanni Battista Filomarino, Neapolitan ambassador at the court of Madrid.

Vocal technique in the formation stages of the lyric artist

Singing is the way of expression through which feelings, experiences, an ideational content are poetically expressed; in its absence the vocal qualities cannot justify the purpose of the interpretation. The topicality of music education for young performers is determined by an appropriate approach to the process of knowing the essential structure of singing, by understanding and mastering the multiple styles and ways of interpreting each genre, all in conjunction with an integration of historical views on the art of singing. Finding directions of orientation and thinking in the field of vocal interpretation, corroborated with the identification of some intrinsic values of it will contribute to achieving a stable foundation on which the lyrical artist can build a career in interpretation.

Application of manual therapy in muscle tensional dysphonia

Muscle tension dysphonia is a functional voice disorder caused by unbalanced activity of the laryngeal and extralaryngeal muscles. People with dysphonia may have changes in the cervical and perilaryngeal muscles, limited amplitude of movement of the cervical spine, but also posture disorders. The aim of this paper is to present the analyzed therapeutic effects of manual techniques in muscle tension dysphonia, based on a review of the available literature. In accordance with the set criteria and the goal of the paper, the collection and analysis of professional and scientific research papers available in PubMed / MEDLINE databases and others, published in the period from 2004 to 2018, was performed. The analyzed studies belong to the type of clinical studies and by design, two types of studies are included: the type of randomized control study and the study of one group of subjects with before and after-examination. Some studies with one group of respondents were characterized by the authors as a series of cases and one, as a small pilot study of repeated measures. The results of the research indicate a larger number of corrective effects of laryngeal manual therapy. It is certain that by developing a broader manual-therapeutic approach, the etiological factor of muscle tension dysphonia can be more effectively influenced which leads to a reduction in pain, improvement of physical functioning as well as improvement of specific vocal qualities.

A’uwẽ (Xavante) Hunting Calls: A Vocal Repertoire for Ethnozoological Communication and Coordination in the Brazilian Cerrado

Group hunting is a productive subsistence activity for many Indigenous peoples with adequate access to territorial and game resources. A’uwẽ (Xavante) group hunts can involve large numbers of individuals coordinating group hunting efforts over large areas. A’uwẽ group hunting and hunting with fire are sophisticated endeavors requiring years of preparation, ample discussion, and post-hunt analysis. Their hunting calls are stylized expressions following established vocal conventions to communicate complex information over long distances between hunters in order to follow, flush, dispatch, and carry game. This discussion is based on recordings provided by the late A’uwẽ elder and leader Tsidowi Wai'adzatse’ in 2006. He wished that the calls be documented so younger individuals will have means to recall them. I address how Indigenous A’uwẽ hunters in the Brazilian cerrado communicate over long distances with hunting calls that encode rich ethnozoological information. After introducing the topic and context, I begin with a presentation of five ethnozoological calls Tsidowi demonstrated, which he considered the complete repertoire of A’uwẽ hunting calls. Following these short descriptions, I discuss some of the vocal qualities observed in the calls (without conducting a full linguistic analysis), the ethnozoological information they encode, and their prospects for continued use into the future within the context of group hunting with fire.

“Men Don’t Sing Soprano”

Male soprano sound in gospel choral participation has come to be a locus for scrutiny, representing a site for the vocalized performance of identity. Drawing on a case study of African-American countertenor Patrick Dailey and an ethnography of his live performance, chapter 2 observes a black countertenor’s embodiment of gendered sound and the peculiar vocal qualities that are socioculturally perceived to signify a man’s queer potential. African-American gospel singing challenges the gender binary framework that the American public expects of men as singing low and women as singing high. Dailey’s performance engages African-American audiences through various types of cultural familiarity to portray competency as a worship leader and trained artist.

ГАСТРОЛІ ІТАЛІЙЦІВ В СУМАХ: ПОГЛЯД ЧЕРЕЗ СТО РОКІВ

The article focuses upon analysis of tour performances of the Gonzalez brothers Italian opera company in provincial Ukrainian town Sumy in the beginning of the XX century. It is noted that musicians` coming was an event which was actively discussed in local press. Each performance had reviews of educative and at the same time critical character. The musical observer described vocal qualities of the artists, their technique, stage effect, orchestra sounding, emotional energy of the shows in details. Basing upon the analysis of these materials the level of touring Italian opera company, performing arts of its soloists and also an impression it produced on Sumy audience are found out. The conclusion enlightens the role of Italian opera company tour in cultural life of the chief town of a district and formation of its musical environment.

Voice in Charismatic Leadership

Voice is one of the most reliable and efficient behaviors that charismatic leaders use to convey their personality traits and emotional states in order to influence followers. Charismatic leaders manipulate voice acoustic characteristics through language and culture-based conventions. These manipulations cause different vocal qualities resulting in the perception of leaders’ different traits and types of charisma. This chapter first illustrates a sociocognitive approach to describing the phenomenon of charisma in leadership and illustrates how charisma is described in cultures. It also addresses many issues of voice in charismatic leadership, such as the biological and cultural functions of charismatic voice, how vocal behavior conveys charismatic leadership, how the voice influences the interaction between leaders and followers, and how the charismatic voice is perceived in different languages and cultures.

Speech Companions: Evaluating the Effects of Musically Modulated Auditory Feedback on the Voice

Changing the way one hears one’s own voice, for instance by adding delay or shifting the pitch in real-time, can alter vocal qualities such as speed, pitch contour, or articulation. We created new types of auditory feedback called Speech Companions that generate live musical accompaniment to the spoken voice. Our system generates harmonized chorus effects layered on top of the speaker’s voice that change chord at each pseudo-beat detected in the spoken voice. The harmonization variations follow predeter-mined chord progressions. For the purpose of this study we generated two versions: one following a major chord progression and the other one following a minor chord progression. We conducted an evaluation of the effects of the feedback on speakers and we present initial findings assessing how different musical modulations might potentially affect the emotions and mental state of the speaker as well as semantic content of speech, and musical vocal parameters.