Anyone who wishes to sing really well should begin by learning how to sing in Italian, not only because the Italian school of vocalisation is acknowledged to be superior to all others, but also on account of the language itself, where the pure and sonorous tone of its many vowel sounds will assist the singer in acquiring a fine voice-production and a clear and distinct enunciation in any language he may have to sing, no matter what may be his nationality.
Learn the language of la dolce vita! For anyone who wants to learn and enjoy the most expressive and romantic of languages, the third edition of The Complete Idiot’s Guide® to Learning Italian is the first choice for a whole new generation of enthusiastic students of Italian. This updated edition includes two new quick references on verbs, grammar, and sentence structure; two new appendixes on Italian synonyms and popular idiomatic phrases; and updated business and money sections. • First two editions have sold extraordinarily well • Italian is the fourth most popular language in the United States
(Bass Recorded Versions). Exact transcriptions with tab for 21 bass-heavy Motown faves: Ain't No Mountain High Enough * Baby Love * Dancing in the Street * Get Ready * I Just Want to Celebrate * My Girl * My Guy * Stop! in the Name of Love * Where Did Our Love Go * You Can't Hurry Love * and more.
Now in its second edition, A Handbook of Diction for Singers is a complete guide to achieving professional levels of diction in Italian, German, and French, the three major languages of the classical vocal repertory. Written for English-speaking singers and offering thorough, consistent explanations, it is an ideal tool for students and an invaluable reference for voice teachers, vocal coaches, and conductors. The book combines traditional approaches proven successful in the teaching of diction with important new material not readily available elsewhere, presenting the sounds of each language in logical order, along with essential information on matters such as diacritical marks, syllabification, word stress, and effective use of the variety of foreign-language dictionaries. Presented in an attractively concise format, the book goes into greater detail than comparable texts, providing specific information to clarify concepts typically difficult for English-speaking singers. Particular emphasis is placed on the characteristics of vowel length, the sequencing of sounds between words, as well as the differences between spoken and sung sounds in all three languages. Featuring significantly expanded coverage of each of the three languages and illustrated with numerous examples, this second edition of A Handbook of Diction for Singers is an exceptional text for courses in diction and a valuable reference source for all vocalists.
"The book combines theory and practice, discussing the theoretical aspects and practical realization of the arrangement of tonal space in terms of their contemporary reception. Brover-Lubovsky's approach is therefore directed toward a study of the musical repertory mapped onto the canvas of contemporary musical thought, including theory, pedagogy, reception, and aesthetics. Tonal Space in the Music of Antonio Vivaldi is a substantial contribution to a better understanding of Vivaldi's individual style, while illuminating wider processes of stylistic development and of the diffusion of artistic ideas in the eighteenth century."--BOOK JACKET.
The first thorough and comprehensive treatment of low male voices, this book draws on techniques and practical advice from Miller's years of professional experience as a performer and pedagogue. Focussing on securing the technical stability of the male voice, the book offers practical advice to students, their teachers, and professional performers, through numerous practical exercises and repertoire suggestions appropriate to various stages of development. Miller synthesizes historic vocal pedagogy with the latest research on the singing voice, always emphasizing the special nature of the male voice and the proper physiological functioning for vocal proficiency.
This 2002 book is a guide to Italian usage for students who have already acquired the basics of the language and wish to extend their knowledge. Unlike conventional grammars, it gives special attention to those areas of vocabulary and grammar which cause most difficulty to English-speakers. Careful consideration is given throughout to questions of style, register, and politeness which are essential to achieving an appropriate level of formality or informality in writing and speech. It surveys the contemporary linguistic scene in Italy and gives ample space to the new varieties of Italian that are emerging in modern Italy. The influence of the dialects in shaping the development of Italian is also acknowledged. Clear, readable and easy to consult via its two indexes, this is an essential reference for learners seeking access to the finer nuances of the Italian language.
This magnificent survey of the most popular period in music history is an extended essay embracing music, aesthetics, social history, and politics, by one of the keenest minds writing on music in the world today. Dahlhaus organizes his book around "watershed" years--for example, 1830, the year of the July Revolution in France, and around which coalesce the "demise of the age of art" proclaimed by Heine, the musical consequences of the deaths of Beethoven and Schubert, the simultaneous and dramatic appearance of Chopin and Liszt, Berlioz and Meyerbeer, and Schumann and Mendelssohn. But he keeps us constantly on guard against generalization and clich . Cherished concepts like Romanticism, tradition, nationalism vs. universality, the musical culture of the bourgeoisie, are put to pointed reevaluation. Always demonstrating the interest in socio-historical influences that is the hallmark of his work, Dahlhaus reminds us of the contradictions, interrelationships, psychological nuances, and riches of musical character and musical life. Nineteenth-Century Music contains 90 illustrations, the collected captions of which come close to providing a summary of the work and the author's methods. Technical language is kept to a minimum, but while remaining accessible, Dahlhaus challenges, braces, and excites. This is a landmark study that no one seriously interested in music and nineteenth-century European culture will be able to ignore.
This collection of the proceedings of the 3rd conference on bi- and multilingual universities, held at the Free University of Bozen-Bolzano from 20 to 22 September 2007, tries to give a state-of-the-art insight into theoretical and practical approaches towards implementing bi- and multilingual models and policies in higher education institutions in various parts of the world.
Using original sources--such as newspaper articles, silent movies, letters, autobiographies, and interviews--Ilaria Serra depicts a large tapestry of images that accompanied mass Italian migration to the U.S. at the turn of the twentieth century. She chooses to translate the Italian concept of immaginario with the Latin imago that felicitously blends the double English translation of the word as "imagery" and "imaginary." Imago is a complex knot of collective representations of the immigrant subject, a mental production that finds concrete expression; impalpable, yet real. The "imagined immigrant" walks alongside the real one in flesh and rags.
