FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W4205503208> ?p ?o ?g. }

• W4205503208 abstract "<p>Writers from diverse disciplines have rhapsodised over the impact of the operatic voice on the listener, while musicologists such as Abbate, Duncan, and Risi have explored the effect that concepts of voice and bodily engagement have had on our critical readings of opera. Yet although perspectives on performance have become an increasingly vital aspect of operatic criticism, no one has laid out how opera singers experience performance in relation to the ideas of embodiment that scholars write about. The discourse on embodiment and voice is theoretical; most discussions of female voice can be mapped on to any historical period and on to any voice, so that all voices end up being treated the same; paradoxically, in addition it is a discourse that largely omits the body. Indeed, the complexity of connecting many different layers of mind and bodily engagement, that is, the embodiment, is a task that requires detailed and specialised training. Without attempting to speak for all singers at all times, I propose that by acknowledging that different singers achieve and think about particular elements of embodiment in different ways, we can start to come to terms with an individual singer’s creative agency, as a co-creator of the composer’s music. In this dissertation I outline key characteristics of the type of embodied voice that has become the basis of operatic singing today, how that operatic voice is produced in performance, and the importance of the singer’s own bodily engagement in making that sound and constituting the performance itself. By juxtaposing operatic criticism and readings of voice and vocality with an interrogation of my own physical engagement in singing a few particular roles (as a singer specialising in nineteenth and twentieth-century operatic repertoire), I demonstrate how a singer “creates” roles. My detailed analyses illustrate how a singer’s fully conscious bodily engagement, in and through the breath, is inextricably linked with musical and dramatic interpretation, and sets up the vocal spectacle and embodied agency so central to our modern experience of opera. Moreover, in the context of specific readings of particular operatic roles, I argue that particular composers set up specific ways in which singers manipulate elements of body and mind – so that the score can influence and even control how a singer can or cannot breathe. As I will demonstrate in detailed studies of four roles by Verdi and Wagner (all of which I have sung in performance), some scores set up an almost physical collaboration between the singer herself and the way in which text, breath and music are shaped and moulded in performance by particular features of the vocal writing. While a large number of roles could be explored in those terms, the demands placed upon body and voice are individual and each role of every opera is always distinct; Verdi and Wagner roles provide particularly valuable examples because of the complex intersection between a rich psychological framework for interpretative engagement and a complex vocal and bodily collaboration. In addition, my focus on a particular timeframe in the historical development of vocal practice suggests fascinating correlations with the case studies I discuss from Il trovatore, Die Walküre and Parsifal. The new type of singer developing the skills and voice to sing these roles predicates today’s vocal and stage practices that in turn have influenced my own experience. Offering an in-depth examination of the complex tasks an opera singer undertakes, I also examine differences in the vocality in singing Wagner and Verdi roles, culminating in a detailed exposition of my chosen roles. This dissertation, therefore, sets up a complex picture of the ways in which vocal performance is constructed and controlled by Verdi and Wagner, on the one hand, and how particular scores also set up the conditions that allow singers in these texts to unleash their voice to achieve “wildness” and expression that lies beyond the text. Through these case studies, I establish a discourse of vocality that allows detailed readings of aspects of vocal performance that seemingly bypass rational communication. In the end, I build a case for understanding how singers’ embodiment contributes to the creativity of the performance in ways hitherto intuited but not analysed. Thus I offer a counterbalance and reinterpretation of traditional perspectives on the reality of performance, addressing singers and scholars alike.</p>" @default.
• W4205503208 created "2022-01-26" @default.
• W4205503208 creator A5091582682 @default.
• W4205503208 creator A9999999999 @default.
• W4205503208 date "2021-11-15" @default.
• W4205503208 modified "2023-10-07" @default.
• W4205503208 title "Embodying Voice: Singing Verdi, singing Wagner" @default.
• W4205503208 doi "https://doi.org/10.26686/wgtn.17014502.v1" @default.
• W4205503208 hasPublicationYear "2021" @default.
• W4205503208 type Work @default.
• W4205503208 citedByCount "0" @default.
• W4205503208 crossrefType "dissertation" @default.
• W4205503208 hasAuthorship W4205503208A5091582682 @default.
• W4205503208 hasAuthorship W4205503208A9999999999 @default.
• W4205503208 hasBestOaLocation W42055032081 @default.
• W4205503208 hasConcept C100609095 @default.
• W4205503208 hasConcept C107038049 @default.
• W4205503208 hasConcept C108170787 @default.
• W4205503208 hasConcept C111472728 @default.
• W4205503208 hasConcept C121332964 @default.
• W4205503208 hasConcept C124952713 @default.
• W4205503208 hasConcept C138885662 @default.
• W4205503208 hasConcept C142362112 @default.
• W4205503208 hasConcept C153349607 @default.
• W4205503208 hasConcept C15744967 @default.
• W4205503208 hasConcept C20766975 @default.
• W4205503208 hasConcept C24890656 @default.
• W4205503208 hasConcept C28490314 @default.
• W4205503208 hasConcept C41008148 @default.
• W4205503208 hasConcept C44819458 @default.
• W4205503208 hasConcept C46312422 @default.
• W4205503208 hasConcept C530479602 @default.
• W4205503208 hasConcept C7991579 @default.
• W4205503208 hasConceptScore W4205503208C100609095 @default.
• W4205503208 hasConceptScore W4205503208C107038049 @default.
• W4205503208 hasConceptScore W4205503208C108170787 @default.
• W4205503208 hasConceptScore W4205503208C111472728 @default.
• W4205503208 hasConceptScore W4205503208C121332964 @default.
• W4205503208 hasConceptScore W4205503208C124952713 @default.
• W4205503208 hasConceptScore W4205503208C138885662 @default.
• W4205503208 hasConceptScore W4205503208C142362112 @default.
• W4205503208 hasConceptScore W4205503208C153349607 @default.
• W4205503208 hasConceptScore W4205503208C15744967 @default.
• W4205503208 hasConceptScore W4205503208C20766975 @default.
• W4205503208 hasConceptScore W4205503208C24890656 @default.
• W4205503208 hasConceptScore W4205503208C28490314 @default.
• W4205503208 hasConceptScore W4205503208C41008148 @default.
• W4205503208 hasConceptScore W4205503208C44819458 @default.
• W4205503208 hasConceptScore W4205503208C46312422 @default.
• W4205503208 hasConceptScore W4205503208C530479602 @default.
• W4205503208 hasConceptScore W4205503208C7991579 @default.
• W4205503208 hasLocation W42055032081 @default.
• W4205503208 hasLocation W42055032082 @default.
• W4205503208 hasOpenAccess W4205503208 @default.
• W4205503208 hasPrimaryLocation W42055032081 @default.
• W4205503208 hasRelatedWork W2354544841 @default.
• W4205503208 hasRelatedWork W2383581237 @default.
• W4205503208 hasRelatedWork W2391294374 @default.
• W4205503208 hasRelatedWork W2885889119 @default.
• W4205503208 hasRelatedWork W2914270981 @default.
• W4205503208 hasRelatedWork W2997493145 @default.
• W4205503208 hasRelatedWork W4200172376 @default.
• W4205503208 hasRelatedWork W4306148345 @default.
• W4205503208 hasRelatedWork W4376527488 @default.
• W4205503208 hasRelatedWork W4380876120 @default.
• W4205503208 isParatext "false" @default.
• W4205503208 isRetracted "false" @default.
• W4205503208 workType "dissertation" @default.