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| 2. |
- Dillmar, Anders
(författare)
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"Dödshugget mot vår nationella tonkonst". Hæffnertidens koralreform i historisk, etnohymnologisk och musikteologisk belysning.
- 2001
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis analyses the Swedish chorale book in two parts edited by J.C.F. Hæffner in 1820-21 to the new hymnal by Wallin of 1819. This is done in relation to the ideas and practices of the time; earlier and up to present times this chorale style has been described as a “petrified” hymnody, with a rhythmic equalisation, slow tempo, melodic trivialization and harmonic uniformity. To understand the ideas behind this Swedish reform of congregational singing in the early 19th century attention has been paid to the aesthetics of the chorale and the theology of music of that time. Hæffner held specific ideas influenced by early German literary romanticism. Besides this international ideological perspective the actual singing and playing practice has been studied in an ethno-hymnological approach. Hæffner’s attitude to this practice has been shown to be rather positive and he did not want his edition to be compulsory introduced. Another problem investigated has been the historical coming into being of the chorale books of Hæffner. His different editions have been compared to each other but also to other available manuscripts and editions of the time. That he was entrusted the work of 1820 has now got a new answer through a previously unknown “Universal Chorale Book” intended for Germany. Still, the solid workmanship of his predecessor Frigel in the Hymn Committee was decisive for the preservation of many old and forgotten melodies and is described in considerable detail. The role of the Royal Academy of Music has likewise been studied. It strongly supported Hæffner’s printed chorale books and used the edition of 1820-21 in its education and examinations. However, the Academy came to defend the very slow chorale tempo at hand; Hæffner was of another opinion. His iso-rhythmical design was an involuntary concession to singing practice. The reception and the criticism has also been studied. In the discussions allusions were often made to the Moravian singing of chorales. Dillner’s numerical notation not only made it possible for musically uneducated people to learn the melodies but his edition also contained an elaborate theology of music, which never before has been described in spite of its wide distribution. For the organists Åhlström’s chorale book of 1832 became very popular, but the great differences between his and Hæffner’s edition were concentrated to a rather small number of melodies.
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| 3. |
- Rosenkull, Bo
(författare)
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Sing!
- 2022
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Ingår i: International Conference of Voice Teachers (ICVT) Vienna, Austria.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- In order to be a well-equipped voice pedagogue today it is important to provide a wide set of skills. In work with children, adolescents, and adult amateurs, it can be essential to be familiar with different genres and music from different cultures; some students want to sing jazz and pop, and others prefer musical theatre or classical singing. Also, in work with advanced students and professionals it is important to have access to different tools in order to efficiently work with an incremental vocal and musical progression. Sometimes it is fruitful to work with classical exercises for a pop singer, and occasionally also the opposite. An alert and active body is necessary to enable embodied singing and therefore, the relation voice-movement is crucial. Some singers need to work to find a good postural alignment and access to the body as a framework, others have to pay attention to unnecessary tensions, rigidity and lack of flow, while others need to find more energy and activity. Besides from creating the prerequisites for good singing some easy movements might helpful to gather a group in a good way. Sometimes it is a gap between the warming-up exercises we do and the songs we sing. Occasionally, we get bored of traditional scales, triads or other exercises we have done for years. So, in this workshop I shall introduce some of my songs and exercises that I have composed - exercises for solo, ensemble and choir. These exercises can be considered as: a bridge between more traditional exercises and the repertoire at hand, a way of getting started, a way of focus on listening, a way of connecting body and voice or just a way of challenge the singers with new things in a joyful way. The exercises could be regarded as a complement to the more traditional warming up exercises. During this session we will work with; Scandinavian folklore, rap, beat-boxing, Middle East and Asian inspired exercises, tongue-twisters, classic singing, pop, body percussion and rounds. So, come and Sing!
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| 4. |
- Siitan, Toomas
(författare)
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Die Choralreform in den Ostseeprovinzen in der ersten Hälfte des 19. Jahrhunderts. Ein Beitrag zur Geschichte des protestantischen Kirchengesangs in Estland und Livland
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The present thesis analyzes the reform of congregational singing in Livonia and Estonia in the first half of the 19th century. In this process the writings on the aesthetics of the congregational singing of a German pastor Johann Leberecht Ehregott Punschel (1778–1849) active in Livonia, and a chorale book (1839) that he edited occupied the central place. Punschel’s activities are directly associated with the protestant restoration movement in the first half of the 19th century, and his ideas pertaining to aesthetics are intelligible only when projected to the background of German publications of his contemporaries. But to the same degree his reform has also been influenced by the unique political and religious situation of Baltic provinces characteristic of which were the increasing ambitions for power of Russian Orthodox Church in the middle of the 19th century, the unusually high activity of the Herrnhut Unity of the Brethren (Herrnhuter Brüdergemeine), as well as the deepening of a national conflict between the Estonian and Latvian natives and the Lutheran church led by clergymen who had immigrated mostly from Germany. In this thesis the ideo-historical background of the historicistic reforms of Lutheran hymnals and chorale books has been investigated, as well as the motives for standardizing congregational singing. The situation of hymn singing before Punschel’s reform has been described on the basis of the local chorale books, printed and in manuscript, from the period of 1774–1831. The phenomenon of the “old way of singing”, its replacement with the “regular singing”, and the role of musical education in this process has been approached from the ethnohymnological perspective. In researching the genesis of the Punschel chorale book attention is paid to its models, the repertory of hymnal tunes, characterizing aesthetics, as well as its early reception. The issue of counteraction to this chorale book in Estonia has been treated as well: the activities of a German organist Johann August Hagen (1786–1877) who has worked in Tallinn led to the publication of an alternative chorale book. Hagen proceeded from the tunes and singing tradition of the Unity of the Brethren, widespread in the Baltic provinces. In these two different attempts of reform a paradoxical conflict between restoration and tradition appears. The successful chorale reform realized by Punschel and the 16 editions of his chorale book (1839–1935) is understood as the inculturation of the German tradition of protestant church singing in the spirit of the period of historicistic restoration.
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| 5. |
- Saldías, M., et al.
(författare)
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The Vocal Tract in Loud Twang-Like Singing While Producing High and Low Pitches
- 2021
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Ingår i: Journal of Voice. - : Elsevier BV. - 0892-1997 .- 1873-4588. ; 35:5, s. 807.e1-807.e23
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Tidskriftsartikel (refereegranskat)abstract
- Twang-like vocal qualities have been related to a megaphone-like shape of the vocal tract (epilaryngeal tube and pharyngeal narrowing, and a wider mouth opening), low-frequency spectral changes, and tighter and/or increased vocal fold adduction. Previous studies have focused mainly on loud and high-pitched singing, comfortable low-pitched spoken vowels, or are based on modeling and simulation. There is no data available related to twang-like voices in loud, low-pitched singing. Purpose: This study investigates the possible contribution of the lower and upper vocal tract configurations during loud twang-like singing on high and low pitches in a real subject. Methods: One male contemporary commercial music singer produced a sustained vowel [a:] in his habitual speaking pitch (B2) and loudness. The same vowel was also produced in a loud twang-like singing voice on high (G4) and low pitches (B2). Computerized tomography, acoustic analysis, inverse filtering, and audio-perceptual assessments were performed. Results: Both loud twang-like voices showed a megaphone-like shape of the vocal tract, being more notable on the low pitch. Also, low-frequency spectral changes, a peak of sound energy around 3 kHz and increased vocal fold adduction were found. Results agreed with audio-perceptual evaluation. Conclusions: Loud twang-like phonation seems to be mainly related to low-frequency spectral changes (under 2 kHz) and a more compact formant structure. Twang-like qualities seem to require different degrees of twang-related vocal tract adjustments while phonating in different pitches. A wider mouth opening, pharyngeal constriction, and epilaryngeal tube narrowing may be helpful strategies for maximum power transfer and improved vocal economy in loud contemporary commercial music singing and potentially in loud speech. Further studies should focus on vocal efficiency and vocal economy measurements using modeling and simulation, based on real-singers’ data.
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| 7. |
- Geisler, Ursula, et al.
(författare)
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Choir in Focus 2011
- 2011
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Ingår i: Choir in Focus 2011. - Göteborg : Bo Ejeby förlag. - 9789188316592 ; , s. 5-5
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 8. |
- Geisler, Ursula, et al.
(författare)
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Introduction
- 2011
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Ingår i: Choir in Focus 2011. - 9789188316592 ; , s. 9-14
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Bokkapitel (refereegranskat)abstract
- The terms ‘choir’ and ‘choral’ are in the network Choir in Focus also seen as symbolic representations of changing paradigms with respect to singing communities in different countries in Europe. With this publication the authors like to contribute to a transnational choral debate and to encourage further research on choral topics, for example ‘choir as a mirror and instrument of social change’ or the ‘historical origins and future directions for choral leadership’. These topics are especially suitable for developing meta-perspectives on the choral tradition as an important part of the European cultural heritage.
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| 9. |
- McDonnell, Maria, et al.
(författare)
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Vocal Fold Vibration and Phonation Start in Aspirated, Unaspirated, and Staccato Onset
- 2011
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Ingår i: Journal of Voice. - : Elsevier BV. - 0892-1997 .- 1873-4588. ; 25:5, s. 526-531
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Tidskriftsartikel (refereegranskat)abstract
- Objectives/Hypotheses. Singers learn to produce well-controlled tone onsets by accurate synchronization of glottal adduction and buildup of subglottal pressure. Spectrographic analyses have shown that the higher spectrum partials are present also at the vowel onset in classically trained singers' performances. Such partials are produced by a sharp discontinuity in the waveform of the transglottal airflow, presumably produced by vocal fold collision. Study Design. After hearing a prompt series of a triad pattern, six singer subjects sang the same triad pattern on the vowel /i/ (1) preceded by an aspirated /p/, (2) preceded by an unaspirated /p/, and (3) without any preceding consonant in staccato. Methods. Using high-speed imaging we examined the initiation of vocal fold vibration in aspirated and unaspirated productions of the consonant /p/ as well as in the staccato tones. Results. The number vibrations failing to produce vocal fold collision were significantly higher in the aspirated /p/ than in the unaspirated /p/ and in the staccato tones. High frequency ripple in the audio waveform was significantly delayed in the aspirated /p/. Conclusions. Initiation of vocal fold collision and the appearance of high-frequency ripple in the vowel /i/ are slightly delayed in aspirated productions of a preceding consonant /p/.
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| 10. |
- Rosenberg, Susanne, 1957-
(författare)
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POLYPHONIC STRATEGIES IN SWEDISH TRADITIONAL SINGING
- 2018
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Konferensbidrag (refereegranskat)abstract
- Recordings and transcriptions of polyphonic singing is rare to find in the Swedish-speaking areas of the Nordic countries. The dominating tradition is a solo tradition. This paper present and discuss strategies in polyphonic singing in some rare recordings from the Swedish-speaking areas and sets them in relation to descriptions of older communal collective singing from the 19th century and back.The phonograph recordings were made in 1908 in the Swedish speaking parts of southern Finland. These are the oldest recordings of singing in Swedish language and present polyphonic singing with two singers, at the time well-known (Ahlbäck, 2003; Häggman, 1992).The singing style shows features much alike traditional solo singing from the Nordic countries: relatively high register for male voice, singing on nasal consonants etc. (Gjertsen, 1985; Ramsten & Jersild, 1988; Rosenberg, 1986, 1993, 2009). The tonality is modal in “herding-call mode” (Ahlbäck, 1986), with strong focus on tonal center, fifth and fourth. The singers change roles during their singing and present independent melodic lines including ornamentation and microtonality in the polyphonic setting, with phrases often ending on same pitch. What are the strategies of the two singers? This paper presents a view that both singers hold in their memory a kind of framework of the melodic idea of “the song” rather than a melodic line with an accompaniment. Suggesting that the singers have a perception of the mode, lyrics and melodic framework, but that the interpretation, the exact version of the song never comes out the same. This concept has been pointed out and described by e.g. Bronson (Bronson, 1969) Susanne Rosenberg is a professor in folk singing and Doctor of Music (DocMus) at the Royal College of Music, Sweden. She is also a well-known singer and has been a pioneer in rediscovering old singing styles and polyphonic singing in an innovative way, using traits from old tradition both Swedish and elsewhere to form music of today as presented both on CD and articles. Read more https://heartbeatbreathe.com/
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