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LIBRIS Formathandbok  (Information om MARC21)
FältnamnIndikatorerMetadata
00005374naa a2200349 4500
001oai:gup.ub.gu.se/110168
003SwePub
008240528s2007 | |||||||||||000 ||eng|
0247 a https://gup.ub.gu.se/publication/1101682 URI
040 a (SwePub)gu
041 a eng
042 9 SwePub
072 7a ref2 swepub-contenttype
072 7a kon2 swepub-publicationtype
1001 a Belgrano, Elisabeth,d 1970u Gothenburg University,Göteborgs universitet,Högskolan för scen och musik,Academy of Music and Drama4 aut0 (Swepub:gu)xbelel
2451 0a “IN SEARCH FOR THE TRUE VOICE OF PASSION” Investigating the essence of passion through ornaments and declamation in performance of 17th century vocal music
264 1c 2007
520 a Can one really understand the essence of passion in a voice? To what extent can ornaments and declamation provoke the passions in 17th century vocal music? ‘Passionate Women Voices on Stage and Interpretation of 17th Century Vocal Music’ is the working title of my PhD-project (initiated during autumn 2006) and it is an interdisciplinary study combining interpretation of 17th century vocal music with science and history of emotions, gender, culture, practical knowledge and phenomenological hermeneutics. Through a process of bibliographical archival research, phenomenological methods, and self-experienced performances, my aim will be to better understand the minds and emotions of women performers during the 17th century. This new perspectives will help me to explore new possibilities in the art of performing vocal music from the Baroque era. French composer and author Benigne de Bacilly (ca.1625-1690), published his treatise ‘Remarque Curieuses sur L’art de Bien Chanter’ (A Commentary upon the Art of Proper Singing) in 1668, and this is one the most informative sources we have, dealing with the issues of vocal performance during the 17th century, along with the Italian composer Giulio Caccini’s ‘Le Nuove Musiche’ from 1602. The French style of performing was very much influenced by the Italian vocal approach, but the French school added more meaning to the importance of the language, words, syllables and declamation, based on rhetorical issues. (This has been argued for in recent studies by musicologist C. Gordon-Seifert .) It also showed a sensitive and more introspective spirit that differed quite distinctly from the Italian style. But are these kind of historical sources enough, or can the music tell us more? Can the 17th century singer tell us more through her reflections in the mirror of history? My aim with this presentation is to explore a French vocal prelude Bacilly, and through phenomenological methods try to understand how words and tones can reach it’s highest level of Passion by different use of rhetorical tools in ornamentation and declamation. Interest in compositions and composers has until now fascinated scholars in musicology, and there seems to have been a rather absent consideration for the performer/co-composer/improviser, and his/her importance for a better understanding of the actual musical delivery. My intention is to enter the world of the 17th century woman performer - her mind and her soul; to explore her reality, through texts and historical sources, and create a vivid experience of her life; then to apply this knowledge and experience to my own performance. My aim is collect the facts presented by scholar in various field and try to hear the words being shaped by her mouth, to see her body enact the emotions on stage, and to understand the desire of her soul, while her body claimed its force to express. I will explore literature and arts; study gestures, body language and movements: all with the intension of understanding the passions from the past. Reflection and performance will be a means for transporting me further, to other realities. A dialogue between the past and the present, singers then and now, will enhance a visualization of a new creative flame that can inspire the art of singing for the future. It is clear that the improvisation of ornaments and flourishes were applied as tools, not with the sole purpose of extraordinary ‘show-off’ at this point in history, but intended to move and caress the deepest parts of the listener’s soul. The voice aimed to creep in under the skin of the audience. My aim is to search for the path to this kind of experience, the essence of the Nature of Experience.
650 7a HUMANIORAx Annan humaniorax Kulturstudier0 (SwePub)605022 hsv//swe
650 7a HUMANITIESx Other Humanitiesx Cultural Studies0 (SwePub)605022 hsv//eng
650 7a SAMHÄLLSVETENSKAPx Medie- och kommunikationsvetenskapx Kommunikationsvetenskap0 (SwePub)508022 hsv//swe
650 7a SOCIAL SCIENCESx Media and Communicationsx Communication Studies0 (SwePub)508022 hsv//eng
650 7a HUMANIORAx Konst0 (SwePub)6042 hsv//swe
650 7a HUMANITIESx Arts0 (SwePub)6042 hsv//eng
653 a voice
653 a emotions
653 a expression
653 a ornamentation
653 a 1600
7102 a Göteborgs universitetb Högskolan för scen och musik4 org
7730 t Music Institutions with Doctoral Arts Studies (MIDAS) International Conference, 20 april, 2007, Royal College of Music, London, UK
8564 8u https://gup.ub.gu.se/publication/110168

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Belgrano, Elisabeth,1970
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