Topic
Recitative
About: Recitative is a research topic. Over the lifetime, 107 publications have been published within this topic receiving 697 citations.
Papers published on a yearly basis
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Papers
TL;DR: In this article, a small group of people gathered in an Anglican church in Melbourne to meditate at 3.00pm on Good Friday, 1995, listening to the 'Erbarme Dich' aria from Bach's St Matthew Passion.
Abstract: At 3.00pm on Good Friday, 1995, a small group of people gathered in an Anglican church in Melbourne to meditate.* As they listened to the 'Erbarme Dich' aria from Bach's St. Matthew Passion, some were visibly moved, and in recalling the event they spoke with a strange elation. Two years earlier I had been living in New York, and listened to the Passion repeatedly during Lent, alone in an apartment. I was similarly moved by this passage, at the moment of Peter's denial, my identification with the violin's melody perhaps being heightened by earlier experiences of playing the work in a student orchestra. It had been in 1981, in Tasmania. I was astounded by the melancholy beauty of my fellow-student's sound, to the point where it distracted me from my part. When Gerald English intoned the long melisma concluding the recitative, I could only guess vaguely that the German text spoke of Peter's weeping, yet even without fully comprehending its context I was riveted by the poignancy of the violin's musical utterance. Now understanding the text, and standing within a continuing tradition of Christian practice, I cannot readily hear the work in a state of detachment and 'aesthetic distance', yet my experiences with it lead me to ask some questions about my own processes of identification. Why does the violin's introduction to the aria bring such involvement? Is the emotion of the moment really one that can be identified in the music, apart from holding a position of Christian belief?. What is it in the music that allows a personal, and emotionally-charged, form of identification to take place? Why does the closure of the aria brings such satisfaction that it allows a new distancing, as if a painful emotion had been partially contained?
109 citations
5 Aug 2018
TL;DR: Rapikwenty is a traditional Australian Indigenous set of stories-and-songs from the Utopia region of Central Australia performed by Anmatyerr speaking adults to lull children to sleep as mentioned in this paper.
Abstract: Rapikwenty is a traditional Australian Indigenous set of stories-and-songs from the Utopia region of Central Australia performed by Anmatyerr speaking adults to lull children to sleep. The main protagonist is a boy who is left to play alone in the ashes. Like many lullabies, Rapikwenty is characterised by scary themes, soft dynamics, a limited pitch range and repetition. The story-and-song form is not common in the Australian literature on lullabies, yet such combinations of prose and verse are found in other forms of verbal art of the region (Green 2014). This verbal art style is also well-attested in other oral traditions of the world (Harris & Reichl, 1997). Rapikwenty resembles other Anmatyerr genres in its song structure; yet differs in its performance style. Echoing Trainor et al. (1999: 532), we find it is the "soothing, smooth, and airy" delivery, rather than any formal properties of the genre, that achieves the lulling effect. In addition, Rapikwenty uses the recitative style known as arnwerirrem 'humming'. The voice thus moves seamlessly between spoken story and sung verse, creating a smooth delivery throughout. We suggest that the combination of prose and verse reflects an Anmatyerr concept of song as prototypically punctuating events in a story rather than a medium for story-telling itself. This article suggests a more nuanced approach to the relationship between genre and performance styles.
92 citations
TL;DR: In this article, Williams discusses the role of metaphor and metonymy in the analysis of tonal music, and proposes a set of criteria for correctness in music theory and analysis.
Abstract: Preface Acknowledgements Contributors Part I. Languages: 1. Metaphor in Roger Scruton's aesthetics of music Naomi Cumming 2. Competing myths: the American abandonment of Schenker's organicism Robert Snarrenberg 3. Rehabilitating the incorrigible Marion A. Guck Part II. Decisions: 4. Criteria of correctness in music theory and analysis Jonathan Dunsby 5. Ambiguity in tonal music: a preliminary study Kofi Agawu 6. Systems and strategies: functions and limits of analysis Anthony Pople Part III. Texts: 7. Debussy's significant connections: metaphor and metonymy in analytical method Craig Ayrey 8. Music as text: Mahler, Schumann and issues in analysis Robert Samuels 9. The obbligato recitative: narrative and Schoenberg's Five Orchestral Pieces, Op. 16 Alan Street 10. Music theory and the challenge of modern music: Birtwistle's Refrains and Choruses Jonathan Cross 11. Repons: phantasmagoria or the articulation of space? Alastair Williams Bibliography Index.
43 citations
Book•
16 Aug 2012TL;DR: The list of works by Haydn and Mozart can be found in this paper, where the authors present a survey of the I-II#-V two-part exposition.
Abstract: Preface Part I. Methodological Orientation: 1. Harmonic practice in the late eighteenth century: twelve excerpts from string quartets by Haydn and Mozart 2. Anatomy of the I-II#-V two-part exposition: twelve keyboard sonatas by Haydn 3. Composition in a minor key: six arias in G minor from operas by Mozart 4. The happy ending: three sonata-rondos in D major from piano concertos by Haydn and Mozart Part II. Masterpieces: 5. Haydn: Symphony No. 45 in F# Minor ('Farewell'), movement 2: in response to James Webster 6. Haydn: String Quartet in G Minor (op. 20, no. 3), movement 3: in response to Robert O. Gjerdingen 7. Mozart: String Quintet in C Major (K. 515), movement 1: in response to Kofi Agawu and Michael Spitzer 8. Mozart: Don Giovanni (K. 527), Act I, Scene 13: Donna Anna's Recitative and Aria: in response to Carl Schachter 9. Mozart: Symphony in G Minor (K. 550), movement 3, Trio: in response to Leonard B. Meyer 10. Haydn: Symphony No. 96 in D Major ('Miracle'), movement 1: in response to Warren Darcy, James Hepokoski and Lauri Suurpaa Select bibliography Index of works by Haydn and by Mozart Index of names and concepts.
35 citations
TL;DR: In this article, a manuscript copy of vocal roles with annotations by singers, amplify Berard's comments and provide rare insights about ornamentation and the declamation of recitative, and the singing of some French artists was considerably indebted to the Italian style, for Italian music and performers enjoyed increasing popularity in Paris during the early eighteenth century.
Abstract: THROUGHOUT Rameau's operatic career, two singers reigned without equal on the Paris opera stage: Pierre Jelyotte and Marie Fel. Rameau fashioned nearly all of his leading roles to suit the specific characteristics of their unique voices. Studies of these and other eighteenth-century singers have concentrated on their biographies.2 With the aid of direct evidence from eighteenthcentury performers, however, it is possible to recover something of the expressive style of singing Rameau heard and admired. Among vocal instruction manuals of the period, Jean-Antoine Berard's L'Art du chant holds particular importance, for Berard himself sang in several of Rameau's works. Two new sources, manuscript copies of vocal roles with annotations by singers, amplify Berard's comments and provide rare insights about ornamentation and the declamation of recitative. The singing of some French artists was considerably indebted to the Italian style, for Italian music and performers enjoyed increasing popularity in Paris during the early eighteenth century. French audiences had ample opportunity to hear native Italian singers at the Concert Spirituel and in other concerts at the homes of wealthy patrons.3 Before thelr performances became popular in Paris, however, Italian singers had regularly participated in performances at court; indeed, their presence can be traced back to the reigns of Louis XII and Francois I. Under the last Valois kings they became more prominent, and they were commonly employed
34 citations
Related Topics (5)
Performance Metrics
| Year | Papers |
|---|---|
| 2021 | 1 |
| 2020 | 1 |
| 2019 | 1 |
| 2018 | 3 |
| 2016 | 2 |
| 2015 | 2 |