Lyric Diction for Singers, Actors and Public SpeakersHarper & brothers, 1913 - 341 páginas |
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Términos y frases comunes
adjustment art of singing artistic breathing aspirate attack Back vowels color conscious consonant delicate diction emotional English enharmonic equally tempered exercise face-mask fact fundamental tone High Back High Front vowel High Middle hm ex human voice humming instrument intervals intoning Italian kinesthesis kinesthetic language larynx lm-hfw Low Back Low Front Low Middle lyric ment Mid Back Mid Front mouth resonances muscles musical scale open vowel organs of articulation perfect pharynx phonation pitch poet poet's poetic poetry position processes of articulation producing Repeat reso resonant tone result semitone sense of movement sense of muscular singer song song-writer sonority sound speech processes syllables three primary tones throat ticulation timbre tion tonal beauty tongue tonic trained upper partial vocal art vocal cords vocal note vocal teacher voice-chord vowel harmonies vowel music vowel resonance vowel tone vowel vibrations vowel-chamber whispered
Pasajes populares
Página 84 - Hark, hark! the lark at heaven's gate sings, And Phoebus 'gins arise, His steeds to water at those springs On chaliced flowers that lies; And winking Mary-buds begin To ope their golden eyes: With every thing that pretty is, My lady sweet, arise: Arise, arise.
Página x - And only The Master shall praise us, and only The Master shall blame; And no one shall work for money, and no one shall work for fame, But each for the joy of the working, and each, in his separate star, Shall draw the Thing as he sees It for the God of Things as They are!
Página 153 - But here is the finger of God, a flash of the will that can, Existent behind all laws, that made them and, lo, they are ! And I know not if, save in this, such gift be allowed to man, That out of three sounds he frame, not a fourth sound, but a star.
Página 96 - HARRY, whose tuneful and well-measured song First taught our English music how to span Words with just note and accent, not to scan With Midas' ears, committing short and long, Thy worth and skill exempts thee from the throng, With praise enough for Envy to look wan : To after age thou shalt be writ the man That with smooth air couldst humour best our tongue. Thou honour'st verse, and verse must lend her wing To honour thee, the priest of Phoebus...
Página xv - She dwelt among the untrodden ways Beside the springs of Dove, A Maid whom there were none to praise And very few to love : A violet by a mossy stone Half hidden from the eye! Fair as a star, when only one Is shining in the sky.
Página 77 - If music and sweet poetry agree, As they must needs, the sister and the brother, Then must the love be great "twixt thee and me, Because thou lov'st the one, and I the other. Dowland to thee is dear, whose heavenly touch Upon the lute doth ravish human sense ; Spenser to me, whose deep conceit is such As, passing all conceit, needs no defence. Thou lov'st to hear the sweet melodious...
Página 50 - For the very essence of the process as spontaneously carried on, is that each faculty acquires fitness for its function by performing its function ; and if its function is performed for it by a substituted agency, none of the required adjustment of nature takes place; but the nature becomes deformed to fit the artificial arrangements instead of the natural arrangements.
Página 53 - I found that of the senses, the eye is the most superficial, the ear the most arrogant, smell the most voluptuous, taste the most superstitious and fickle, touch the most profound and the most philosophical.""6 We have tried to illustrate the range of each sense by maintaining Gibson's categories of senses (Figure 7.8).
Página 120 - Say unto them which daub it with untempered mortar, that it shall fall : there shall be an overflowing shower ; and ye. O great hailstones, shall fall ; and a stormy wind shall rend it. Lo, when the wall is fallen, shall it not be said unto you, Where is the daubing wherewith ye have daubed it?
Página 31 - ... accordingly to curtail the use of it as the great source of dramatic and emotional effect. The consequence is two-fold. On the one hand we lose sight of the direct influence exerted by sound of certain degrees of pitch on the human sensibility, and thus ultimately on character. On the other hand, the music becomes an independent creation. It may still be a vehicle of the deepest feeling ; but it no longer seeks the aid of language, or reaches its aim through the channels by which language influences...