Classical Singer Research Articles

Contemporary Vocal Repertoire Considerations for the Classical Singer

Abstract: Author Justin John Moniz addresses the exploration of contemporary vocal repertoire for the classical singer. Moniz discusses effective teaching methods rooted in evidence-based practice and advocates for the exploration of student curiosities outside one’s primary area of concentration. Included is a sample list of popular song repertoire for four voice types: soprano, mezzo-soprano, tenor, and baritone. These selections are intended to provide even those most unfamiliar with popular song an opportunity to explore a new style with greater probabilities of ease and coordination.

Bookshelf

Abstract: Debra Greschner reviews three recent publications. In French Lyric Diction: A Singer’s Guide (New York: Oxford University Press, 2023), diction instructor Jason Nedecky explains the rules and nuances of French lyric diction. Rearranged: An Opera Singer’s Facial Cancer and Life Transposed by Kathleen Watt (New York: Heliotope Books, 2023) is a compelling memoir of a classical singer’s battle with bone cancer. Vocal Technique: A Guide to Classical and Contemporary Styles for Conductors, Teachers, and Singers 2nd Edition by Julia Davids and Stephen LaTour (Grove, IL: Waveland Press, 2021) is substantively expanded upon the first edition that appeared in 2012. The volume now includes information on topics such as styles beyond the classical genre, electronic amplification, and additional vocal exercises.

Michael Chekhov’s acting technique through the lens of a classical singer

Research questions: 1. In what ways is Michael Chekhov’s acting technique beneficial to classical singers portraying characters from operas in terms of the aspect of interpretation and acting, the aspect of mental preparation before a performance and the aspect of vocal projection? 2. Are there specific concepts of the technique that are especially relevant to classical singers and why? Summary of the results of the research: In terms of interpretation and acting, Michael Chekhov’s acting technique turned out to be very helpful to the singers. By exercising Chekhov’s concept, they acquired a sense of clarity to their character and a physical and psychological understanding. In terms of mental preparation, the singers felt like they gained tools in calming the mind, achieving a feeling of ease. And that in general, by moving the focus from the intellectual and to the body is a great antidote for nervousness. In terms of vocal projection, all the singers agreed that their vocal performance improved when they sang their aria the second time when they implemented Chekhov’s elements while performing the aria. There were differences of opinion among the singers as to which concepts of Chekhov’s were the most beneficial. Questionnaire and discussions though brought to light that the quality of radiation and the feeling of ease appealed particularly well to the singers. I believe that the reason for that is that these qualities create an ideal physical state to sing. The feeling of ease creates a sense of ground, openness, calmness and at the same time alertness. The quality of radiation gives off a strong feeling of confidence, power, and freedom. The act of singing requires physical strength but without creating excessive tension in the body. Healthy singing requires being both firm and soft, which is achieved with both concepts.

Making a simple International Phonetic Alphabet (IPA)—For singers, conductors and composers

This research develops a simplification of a graphical resource: the International Phonetic Alphabet. The choices made to simplify it are based on an analysis of existing diction methods. The thesis format seemed most suitable for my research, as the IPA is a graphical notation method which is meant to be used by writing it down. (While it is of course used to notate sounds, these sounds themselves are not actually the focus of the research. There are also already an abundance of audio examples for the IPA symbols.) The IPA can be a very useful aid for classical singers, from ensemble singers to soloists, but appears intimidating from the amount of symbols it has. This research looks at which IPA symbols are used and which are not used in five different diction methods for classical singers. These are systematically analysed and presented graphically to the reader to help visualise which of all the symbols presented on the IPA chart are regularly used by singers. The end result is practical in nature: a Simple IPA chart which uses only those symbols a classical singer really needs to sing the five main languages for classical singing: English, French, German, Italian and Latin.

Arts for health: SingingMetteKaasgaardPostDoc, PhD, MSc, Classical singer and singing pedagogue, Institute of Regional Health Research, Faculty of Health Sciences, University of Southern Denmark, and Pulmonary Research Unit, Department of Respiratory Medicine, Zealand University Hospital Roskilde and Naestved, Denmark.mkaasgaard@health.sdu.dk

Arts for health: SingingMetteKaasgaardPostDoc, PhD, MSc, Classical singer and singing pedagogue, Institute of Regional Health Research, Faculty of Health Sciences, University of Southern Denmark, and Pulmonary Research Unit, Department of Respiratory Medicine, Zealand University Hospital Roskilde and Naestved, Denmark.mkaasgaard@health.sdu.dk

Adding to the Narrative: Intersectional Feminist Critical Curatorial Practices in Classical Vocal Music Performance

Diversity and inclusion within Western art music have become topics of elevated importance in in recent discussions. To create enduring results regarding these matters, there needs to be a commitment to in-depth study of practices that will produce visible change. This is one of the goals of my research, in which I tackle issues of representation by focusing on Black women composers and their absence from the canon as overlooked and marginalized artists. It is well known that women have been denied many opportunities throughout history; as composers, many experiences crucial to professionalism were not always available to women, including music education in composition, the publication and circulation of their works, not being hired as conductors, or receiving reviews from influential critics. These opportunities and resources dwindled further if a woman was also a person of colour. Thus, in order to ensure their inclusion within the canon, these underrepresented identities demand and require unique recognition. I have examined the issue of neglected women of colour composers in classical music from an interdisciplinary standpoint, utilizing the methodologies of history and experimentation to form an “intersectional feminist critical curation” framework. This framework implements knowledge from intersectional feminist theory and music curation practices in order to answer following questions: “What is the impact on new audiences of diverse backgrounds experiencing classical music through an intersectional feminist curatorial framework?”, "Can classical music be an effective device for messages of social and political change?", and “What is the impact on myself as a classical vocalist and a Black woman to implement an intersectional feminist curatorial framework within my musical study and performance?”. The overall goal of this research was to discover an effective way forward to achieving diversity in classical music for underrepresented groups. Drawing from this study, I have created a digital performance project entitled “The Narrativity Sessions,” which functioned as an experiment utilizing this knowledge of intersectional feminist theory and praxis fused with select critical curation strategies applied to my own artistic practice as a classical singer. The outcome was a novel artistic practice that can contribute to creating innovative and artistically fulfilling performances while simultaneously advancing diversity and inclusion in the classical music sphere for audiences, performers, and composers alike.

Book Review - India’s External Commercial Borrowing : Features, Trends, Policy, and Issues

The book, India’s External Commercial Borrowing: Features, Trends, Policy, and Issues gives a multi-faceted view of India’s external commercial borrowing and throws a flood of light on it. It discusses the features and pertinent issues in India’s external debt management, focusing on ECB with comprehensive analysis and making recommendations for policy framework. The scholarly prowess of the author is reflected in the concise and lucid presentation. The book will be useful for students, business persons, researchers, and CFOs. About the Author, Dr. Ashutosh Raravikar : Director, DEPR, Reserve Bank of India. He also worked as Director at the Ministry of Finance, Government of India. Rich educational and scholarly background, gold medallist. Eminent economist, central banker, and author with a contribution to international fora. Winner of several prestigious awards. Versatile personality - educationist, spiritualist, literary writer, popular speaker, classical singer

Music Received

Music Received Compiled By Kathleen A. Abromeit The individuals included in this column were listed in The Queer Encyclopedia of Music, Dance & Musical Theater, Claude J. Summers, editor. San Francisco, CA: Cleis Press, 2004. Names were searched in the Theodore Front database. The list of composers was quite extensive and will be divided between two issues of Music Received. This issue contains works by composers whose last names begin with the letters M to Z. Works by composers whose last names begin with the letters A to L were listed in the Music Received column in volume 77 issue 4. The lists of works included are not comprehensive for each composer but are rather either recently published or notable. We at Notes are happy to encourage libraries to diversify their collection and place the achievements of LGBTQIA composers in a historical context from which they have been traditionally marginalized. We hope to return to our regular column once after the COVID-19 pandemic when shipping and mailing schedules return to normal. Special thanks to Jake Balmuth for assisting with this column. TOBY MARLOW Six: The Musical. Leonard, 2020. HL 00319800. ISBN 9781540068491. Vocal score, 126 p. $22.99. COLIN MCPHEE Balinese Ceremonial Music: Transcribed for Two Pianos, Four Hands. Schirmer, 1940. ST 38798. Score, 25 p. $20.00. Tabuh-Tabuhan: Toccata for Two Pianos and Orchestra. Associated, 1960. AMP 9608103. Score, 107 p. $35.00. GIAN CARLO MENOTTI Chip and His Dog: Opera for Children (E). Schirmer, 1979. ED 3169. Vocal score, 31 p. $30.00. Dritti Al Cuore: la Medium di Gian Carlo Menotti. (Studi E Saggi‚ Vol. 12). LIM, 2018. ISBN 9788870969399. vi, score, 278 p. $45.00. Unicorn, the Gorgon and the Manticore (Three Sundays Of A Poet). Columbia, 1957. FC 01836. Vocal score, 156 p. $35.10. MEREDITH MONK Afternoon Melodies, From Book of Days: For STB Chorus (1988). Boosey, 2017. Choral score, 4 p. $27.50. Stringsongs: For String Quartet (2005). Boosey, 2013. ISBN 9781480352919. Score, 23 p. and 4 parts. $60.00. Travellers 4/Chuchyard Entertainment, From Book of Days: For SSATB With Optional Organ Accompaniment (1985). Boosey, 2014. Choral score, 27 p. $37.20. ANGELA MORLEY Morricone, Ennio. Cinema Paradiso: For Solo Violin and Orchestra. Arranged by Angela Morley (1988). Leonard, 2019. HL 04491618. Score, 8 p. $45.00. NICO MUHLY Advice to a Young Woman: For SSAA Choir and Ensemble (2016). St. Rose, 2019. SRO 100142. Vocal score, 24 p. $4.75. Clip: For Ensemble. St. Rose, 2017. SRO 100165. Score 21 p. $16.99. [End Page 127] Patterns with Direction: For Orchestra. St. Rose, 2017. SRO 100156. Score, 15 p. $13.99. PAULINE OLIVEROS Epigraphs in the Time of Aids: For Deep Listening Band and Long String Instrument (1994). Pauline Oliveros, 2016. Spiral score, 6 p. $20.00. Tashi Gomang: For Orchestra (1981). Smith, 1984. Score, 10 p. $25.00 Tri: For Flute, Piano and Page Turner. Smith, 1977. Set of two scores, 16 p. each. $35.00. COLE PORTER 10 Cole Porter Classics. (Jazz Play Along‚ Vol. 16). Leonard, 2003. HL 00843009. Score, 87 p. and compact disc. $16.99. Anything Goes: Revival Edition. Warner, 1988. VF 1450. Vocal selections, 63 p. $17.99. Cole Porter: For Low Voice. (Singer’s Jazz Anthology). Leonard, 2020. HL 00287137. Score, 120 p. and online audio file. $19.99. FRANCIS POULENC 50 Mélodies: For High Voice. Durand, 2017. DF 16403. xxxvi, score, 167 p. $22.99. Piano Album. Salabert, 1989. EAS 18793. Score, 89 p. $29.95. Sonata: For Horn, Trumpet and Trom-bone. Chester, 1924. CH 22901. Three parts, 4 p. each. $12.00. MAURICE RAVEL Introduction Et Allegro: For Harp, Flute, Clarinet and String Quartet. Edited by Peter Jost. Henle, 2017. HN 7069. viii, study score, 45 p. $20.95. Tombeau De Couperin: Pour Piano a Quatre Mains. Transcribed by L. Garban. Durand, 1919. DR 0981000. Score, 32 p. $31.95. Tzigane: Pour Violon Et Piano. Edited by Edmond Lemaitre. Durand, 2017. DR 16455. xliii, score, 23 p. $21.99. NED ROREM Developing Classical Singer, Songs by British and American Composers: For Soprano. Boosey, 2017. HL 48024016. Score, 88 p, and online audio file. $16.99. Songs of Sadness: For...

Navigating a performance livelihood: career trajectories and transitions for the classical singer

ABSTRACT Investigations pertaining to career trajectories and vocational identities of professional classical Australian singers are uncharted and lack specific empirical evidence. Rarely do studies explain the professional singers’ experiences and the processes they undertook to reach goals, to comprehend their deep identification with the craft, and acknowledge the specific market conditions which drive their career. This research investigated the careers of Australian classical singers through a qualitative interview-based study and analysis, which outlines the trajectory of the professional singers’ careers as these became evident through their experiences. Extensive interviews were conducted with 13 retired professional singers’ and the subsequent thematic analysis found a trajectory of development and decline. Major career theories and empirical studies from elite dance and sportsperson were interrogated. An analysis of the singers’ experiences of their professional life was undertaken, and implications arising were related to career models from the film industry to discourses from cultural economics and sociology, to music training concepts and entrepreneurial approaches to working in the creative arts. The result was the identification of a distinct career typology comprising several stages: (1) pre career; (2) breaking in; (3) peak stage; (4) denouement; and (5) moving on. The study found there is a critical link between pre- and post-career stages that has implications for training. Other findings include that creativity and identity are tightly intertwined for the professional singers in the study, and when seeking new directions following the denouement stage, the majority of the singers attempted to remain attached to an artistic field. The findings suggest that training for artists’ in career planning, pedagogical practices, entrepreneurship and attention to issues of wellbeing have often been inadequate in this industry and it is only in the consideration of the lifecycle of a creative performance career that the critical link between pre- and post-career stages can be made.

A pilot study on the influence of mouth configuration and torso on singing voice directivity

Directivity of speech and singing is determined primarily by the morphology of a person, i.e., head size, torso dimensions, posture, and vocal tract. Previous works have suggested from measurements that voice directivity in singing is controlled unintentionally by spectral emphasis in the range of 2-4 kHz. The attempt is made to try to identify to what extent voice directivity is affected by the mouth configuration and the torso. Therefore, simulations, together with measurements that investigate voice directivity in more detail, are presented. Simulations are presented for a piston in an infinite baffle, a radiating spherical cap, and an extended spherical cap model, taking into account transverse propagation modes. Measurements of a classical singer, an amateur singer, and a head and torso simulator are undertaken simultaneously in the horizontal and vertical planes. In order to assess differences of voice directivity common metrics, e.g., horizontal and vertical directivity indexes, are discussed and compared to improved alternatives. The measurements and simulations reveal that voice directivity in singing is affected if the mouth opening is changed significantly. The measurements show that the torso generates side lobes due to diffraction and reflections at frequencies related to the torso's dimensions.

O cantor-ator

O objetivo do artigo é estabelecer uma discussão sobre os livros norte-americanos publicados entre a segunda metade do século XX e início do século XXI sobre a atuação cênica do cantor lírico, expondo brevemente determinadas reflexões e princípios encontrados nessa literatura. As reflexões dos autores sobre aspectos da preparação e desenvolvimento cênico são organizadas em três eixos temáticos: 1) A preparação cênica e as vias de dentro para fora e de fora para dentro; 2) Desenvolvimento e uso dos recursos expressivos; e 3) Desafios inerentes à atuação cênica do cantor lírico. O conteúdo do artigo foi desenvolvido como parte da revisão da literatura realizada na pesquisa de doutorado da autora.

Special Considerations for Diagnosing and Treating the Classical Singer

Purpose The purpose of this study was to describe strategies for optimizing clinical service for the population of classical singers. Conclusion The term professional voice users is used to denote ...

Tahrir Patterns and Acoustical Analysis of Tekyeh in a Professional Iranian Classical Singer

"Iranian classical singing," called "avaz" in Persian, contains the ornament called a tahrir which is composed of a chain of tekyehs. A tekyeh is a fundamental frequency gesture that quickly increases and then decreases. Performing artists produce different patterns of tahrir during their singing. The primary aim of the study was to determine and describe different tahrir patterns based on fundamental frequency and temporal measurements of tekyeh produced by a professional avaz singer. A live unaccompanied recording was made of a professional avaz singer singing the popular song "Morghe Sahar" (Dawn Bird) with free meter. Tahrir patterns were determined through auditory and spectrographic examination of the recording. Quantitative measurements were determined to distinguish among the resulting patterns. Four primary tahrir patterns were identified. These patterns were categorized based on (1) the number of tekyehs, (2) fundamental frequency extent from the baseline to the tekyeh peak, (3) inter tekyeh interval duration, (4) tekyeh rate, and (5) tekyeh speed quotient. Pattern 1 consists of one tekyeh and is called a "zinat." Pattern 2 is a multiple tekyeh gesture with relatively long plateau intervals. Pattern 3 is a multiple tekyeh gesture with relatively short plateau intervals. Vibrato-like Pattern 4 is also a multiple tekyeh pattern with short plateau intervals like Pattern 3 but with relatively small frequency extents. Four uniquely distinguished tahrir patterns, defined via acoustical analysis and the number of tekyehs, were identified using visual and auditory inspection of the various tahrirs produced by the participant. For the singer, Patterns 1, 3, and 4 constituted 96% of all the tokens. None of the tekyehs produced by the participant studied here appeared to switch between vocal registers between the lower and upper notes. The results have ethnomusicological, physiological, acoustic, and pedagogical importance for Iranian classical singing.

Hypernasality in singing among children with cleft palate: a preliminary study

The aim of this study was to document differences in hypernasality during speaking and singing among children with cleft palate and to compare nasality score ratings of trained and untrained listeners. Twenty subjects with cleft palate aged between 7 and 12 years participated in this study. Audio recordings were made of the children reading a passage and singing a common local song, both in the Malay language. The degree of hypernasality was judged through perceptual assessment. Three trained listeners (a speech therapist, a classical singer, and a linguistic expert – all academicians) and two untrained listeners (a cleft volunteer worker and a national high school teacher) assessed the recordings using a visual analogue scale (VAS). Inter-rater and intra-rater reliability for hypernasality in both speaking and singing were verified using the intra-class correlation coefficient (ICC). A significant reduction in hypernasality was observed during singing as compared to speaking, indicating that hypernasality reduces when a child with cleft palate sings. The act of singing significantly reduces hypernasality. The outcome of this study suggests that children with cleft palate would benefit from singing exercises to ultimately reduce hypernasality. However, future research is needed to objectively measure nasality in singing compared to speaking.

A singer’s perspective on Sirens and singing: An interview with coloratura soprano/conductor Barbara Hannigan

The Sirens appear in one of the most iconic literary episodes on music-making and music-hearing, in Homer’s twelfth book of The Odyssey (2018: 194), singing an irresistible and lethal song. While the myth of the Sirens’ song has continued to exist for almost three millennia in various formats, this Voicing queries the relevance of the myth as a reference for the practice of singing and examines the experiences of a classical singer who works within contemporary music and has embodied Sirens in performance. Following a short scholarly introduction that questions the role of the singing voice in the Siren song, practitioner-scholar Sophia Edlund interviews Canadian interpreter of contemporary music, soprano/conductor Barbara Hannigan, specifically asking her to consider the meaning of the Sirens and their symbolic value for singing. In this interview, Barbara Hannigan compares her music-making practice with the speculative practice of ‘Siren-ing’, pointing to similarities, such as being in a state of metamorphosis during singing, as well as divergences in terms of how singing is practised and understood.

Tahrir patterns in a professional Iranian classical singer

“Iranian classical singing” (“avaz” in Persian) contains the ornament called a tahrir. It typically is a sequence of tekyeh fundamental frequency gestures that quickly increase and then decrease. The primary aim was to determine and describe the tahrir patterns produced by a professional avaz singer. An unaccompanied recording was made of a professional avaz singer singing the popular song “Morghe Sahar” (“Dawn Bird”). Consistent patterns of tahrir productions were determined after repeated listening. Four primary tahrir patterns were identified, based on (1) the number of tekyehs within the tahrir, (2) fundamental frequency extent from the baseline to the tekyeh peaks, and (3) inter-tekyeh interval durations. Pattern 1 consists of one tekyeh and is called a “zinat.” Pattern 2 is a multiple tekyeh gesture with relatively long inter-tekyeh intervals. Pattern 3 is a multiple tekyeh gesture with relatively short inter-tekyeh intervals. Pattern 4 is a vibrato-like pattern with multiple tekyehs with short inter-tekyeh intervals like Pattern 3 but with relatively short frequency extents. The results are pertinent to voice scientists interested in the mechanics of phonatory production, to singing teachers and artists interested in pedagogy based on acoustic and perceptual information, and to ethnomusicologists interested in cultural musical performance and production. “Iranian classical singing” (“avaz” in Persian) contains the ornament called a tahrir. It typically is a sequence of tekyeh fundamental frequency gestures that quickly increase and then decrease. The primary aim was to determine and describe the tahrir patterns produced by a professional avaz singer. An unaccompanied recording was made of a professional avaz singer singing the popular song “Morghe Sahar” (“Dawn Bird”). Consistent patterns of tahrir productions were determined after repeated listening. Four primary tahrir patterns were identified, based on (1) the number of tekyehs within the tahrir, (2) fundamental frequency extent from the baseline to the tekyeh peaks, and (3) inter-tekyeh interval durations. Pattern 1 consists of one tekyeh and is called a “zinat.” Pattern 2 is a multiple tekyeh gesture with relatively long inter-tekyeh intervals. Pattern 3 is a multiple tekyeh gesture with relatively short inter-tekyeh intervals. Pattern 4 is a vibrato-like pattern with multiple tekyehs with short inte...

The Nasal Musculature as a Control Panel for Singing—Why Classical Singers Use a Special Facial Expression?

This study aimed to explain the possible reason why classical singers seem to spread their nostrils and raise their cheeks before starting to sing. This is an experimental study. Five subjects (three classical singers, two nonsingers) were investigated with nasofiberoscopy holding their breath after inhalation. The subjects were instructed to have a neutral expression first and then to take the singers' expression characterized by nostril flaring. In case of nonsingers, the special expression was rehearsed beforehand, guided by a classical singer. The following measurements were made: (1) height of soft palate, (2) area of the hypopharynx, (3) area of the epilaryngeal tube inlet (Aditus laryngis), and (4) dimensions of the (visible) glottis (length, width, and length-to-width ratio). All subjects raised the palate and widened the pharyngeal inlet, epilaryngeal inlet, and the glottis during "singer's expression." The results suggest that classical singers may take advantage of breathing- and smelling-related connections between nasal and facial muscles and the larynx to avoid a hard glottal attack and pressed phonation and possibly also to assist the production of mixed register (head voice), characterized by a relatively low adduction between the vocal folds.

Case study of a performance-active changing trans* male singing voice

A professional classical singer of more than 25 years (AZ) in his early 50s requested this voice researcher’s consultation and assistance in early 2014. He was about to start living full time as a trans* man. Despite his intention to be included in the low start/gradual increase testosterone option of the Trans* Male (previously, “FTM”) Singing Voice Program, the request contained a rather unconventional aspect: AZ would continue to sing while his voice was changing. The above request was integral with his singing history. After the introduction of safeguards and his informed consent, AZ was accepted onto the Program. Due to the highly individual circumstances, his participation was recorded as a case study. The study has aimed to replicate the particulars of the slow hormonal changes and continuing singing ability found in certain cisgender male adolescent voices. Despite dealing with an adult trans* male individual, the progress has been comparable. This has been achieved by carefully monitoring AZ’s low start/gradual increase testosterone administration in communication with the medical practitioner. The participant’s vocal health remained safeguarded and promoted by carefully individualized vocal tuition. This article will discuss the collective results of the case study, including the recordings and the data analysis.

The Life of Camilla Williams, African American Classical Singer and Opera DivaStephanieShonekan and CamillaWilliams. Lewiston, NY: Edwin Mellen Press, 2011.

The Life of Camilla Williams, African American Classical Singer and Opera Diva Stephanie Shonekan and Camilla Williams. Lewiston, NY: Edwin Mellen Press, 2011.Published a year prior to her death, The Life of Camilla Williams, African American Classical Singer and Opera Diva, provides an insightful collaborative memoir by the opera singer and Stephanie Shonekan, assistant professor of ethnomusicology and Black studies at the University of Missouri.The authors' account of Williams's early life, her college experiences, her critically-acclaimed debut with the New York City Opera, her international touring career, her life as a cultural ambassador, her marriage, and her teaching career, allows the reader to share in her struggles and triumphs over eight decades. Stunning photographs from Williams's collection, along with a chronology and discography, are useful additions for researchers.Coauthor Shonekan's perceptive introduction focuses on her first meetings with the diva and how their relationship grew while collaborating on the memoir. Shonekan admits that, as time progressed, she continued to deliberate between the options of biography and autobiography and the virtues of each genre. After some deliberation with Williams (1919-2012), Shonekan realized that she could only present the story autobiographically, so that Williams would be given a chance to speak for herself.For almost two years, Shonekan conducted interviews with Williams and devoted many hours to exploring the diva's recordings in order to become more familiar with her unique voice and to understand her reactions to certain composers. Shone kan spent an extensive amount of time in search of relevant printed materials on Williams, including rave reviews in newspaper clippings from around the world, correspondence, photographs, scores, and other memorabilia. Primary documents, as well as the wider historical, cultural, and economic circumstances of the times, provided the coauthor with a different level of knowledge of the diva's life.In her prologue, Camilla Williams notes that over the decades several people approached her to tell her story. In particular, she reminisces about a publisher who wanted her to write a history of the bitterness and anger. As she points out several times in her memoir, her mother always advised her, Camilla, if you have good to say about anybody, say nothing (17). Williams states that she wanted to share her story because she has a lot of good to tell and her faith in God, in addition to her supportive family, friends, and colleagues, has allowed her to live a life without bitterness.The biography, divided into seventeen chapters, chronicles Camilla Williams's life and works from her beginnings in Danville, Virginia in 1920. Williams states that even though her parents were as poor as Job's turkey, they instilled three main things in their four children: church, education, and music (27). …

Action and familiarity effects on self and other expert musicians' Laban effort-shape analyses of expressive bodily behaviors in instrumental music performance: a case study approach.

Self-reflective performance review and expert evaluation are features of Western music performance practice. While music is usually the focus, visual information provided by performing musicians’ expressive bodily behaviors communicates expressiveness to musically trained and untrained observers. Yet, within a seemingly homogenous group, such as one of musically trained individuals, diversity of experience exists. Individual differences potentially affect perception of the subtleties of expressive performance, and performers’ effective communication of their expressive intentions. This study aimed to compare self- and other expert musicians’ perception of expressive bodily behaviors observed in marimba performance. We hypothesized that analyses of expressive bodily behaviors differ between expert musicians according to their specialist motor expertise and familiarity with the music. Two professional percussionists and experienced marimba players, and one professional classical singer took part in the study. Participants independently conducted Laban effort-shape analysis – proposing that intentions manifest in bodily activity are understood through shared embodied processes – of a marimbists’ expressive bodily behaviors in an audio-visual performance recording. For one percussionist, this was a self-reflective analysis. The work was unfamiliar to the other percussionist and singer. Perception of the performer’s expressive bodily behaviors appeared to differ according to participants’ individual instrumental or vocal motor expertise, and familiarity with the music. Furthermore, individual type of motor experience appeared to direct participants’ attention in approaching the analyses. Findings support forward and inverse perception–action models, and embodied cognitive theory. Implications offer scientific rigor and artistic interest for how performance practitioners can reflectively analyze performance to improve expressive communication.