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A Contemporary Application of Boris Goldovsky’s Method for Training the Operatic Singer-actor: a Model for Today’s University Opera Workshop Instructor

Description: Throughout the twentieth century, Boris Goldovsky (1908-2001) played a significant role in training the operatic singer-actor. One of his most significant contributions was integrating music and drama. He taught his students how to develop a character, how to find dramatic clues in the music, and to become expressive artists free from monotonous operatic gestures and posturing. As author of the first textbook for training the operatic singer-actor, his curriculum was developed from experience, acting traditions, and mentor-student relationships. A new forum, Opera Workshop, allowed him to experiment and test his methods. Although Goldovsky is known to some scholars as the “Father of Training the Operatic Singer-Actor,” his presence in modern day training material is almost non-existent. How can we understand the needs of educating today’s operatic singer-actor without knowing the very foundation upon which it was built? This paper applies Goldovsky’s method of training to a staging and performance of Act II scene I from Humperdinck’s Hansel and Gretel. Providing this modern application of his training will demonstrate the relevance of his contributions for educators in a contemporary university setting. My findings suggest that Goldovsky’s approach and philosophy to training the young singer-actor provides practical and valuable knowledge that is still viable for today’s university singer-actor educator.
Date: December 2014
Creator: Glidden, Jennifer
Partner: UNT Libraries

“I Gotta Right to Sing the Blues”: Considering the Music of Harold Arlen (1905-1986) for Use by Female Singers in the Classical Voice Studio

Description: American musical theater and film composer Harold Arlen is largely overshadowed by his contemporaries, such as George Gershwin, Irving Berlin, and Cole Porter. However, his music serves as a viable alternative for singers of all skill level studying a classical technique. By studying the music of Harold Arlen, singers will utilize a wide range, legato line, negotiations of register, mood shifts, and varying tessituras. The following document considers the importance of Arlen’s music by analyzing eight of his songs from three prominent decades of compositional output. The eight songs examined are grouped by the decade of their composition: the 1930s, 1940s, and 1950s. Each song is evaluated by determining the musical benefits included in each song and also the skill level required of the singer.
Date: August 2013
Creator: Hawk, Heather L.
Partner: UNT Libraries

Christmas musik

Description: Recording of John Cousins's Christmas musik.
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1973
Creator: Cousins, John
Partner: UNT Music Library

An investigation of the attitudes of selected professional classical solo singer-actors toward specific concerns of the music profession

Description: The purpose was to investigate attitudes of successful full-time performing classical singer-actors toward career concerns of the music profession. Five research problems were formulated to: (1) describe attitudes toward control of work conditions; (2) describe attitudes toward entrapment; (3) describe attitudes toward dependency; (4) report attitudes concerning current practices of training the solo singer; and (5) identify commonalities among the subjects regarding demographic, the attitudes described in problems one through four, and demeanor during the interviews.
Date: December 1990
Creator: VanEaton, Sunny F. C.
Partner: UNT Libraries

Vittringar

Description: Recording of Bengt Emil Johnson's Vittringar. “Time is our element. We live in time, with time. The leaves fall in autumn and join what has been – the stratum between life and death where breakdown and rebirth lie very close to one another… As in nature, as well as in that part of nature we call “art.” In the time-flow we call ‘now’ you and I stand – sensing the presence of what is new, emergent – and taking part, within ourselves, in the continuing process in which everything is breaking down. In Swedish, we have a word that has association with both these experiences that sometimes approach each other very closely. It is Vittring (scent/wither).” – Bengt Emil Johnson, composer Göran Rydberg transformed the rhythms of language, using different percussion instruments. Eugeniusz Rudnik gave it a careful and sensitive interpretation in the Polish Radio Experimental Studio.
Access: This item is restricted to UNT Community Members. Login required if off-campus.
Date: 1978
Creator: Johnson, Bengt Emil, 1936-2010
Partner: UNT Music Library

For Alrun I et II

Description: Recording of Iván Székely's For Alrun I et II. The work entitled "For Alrun" was composed in 1975 in Bayreuth during a live electronics course. The singing part of the play of about 7 minutes, a form and a light local broadcast, contains the popular song tchango beginning with the words "Gyere ki te gyšngyvirag" / come, leave my beautiful, my lily of the valley / - this one will have to be changed to all the presentations in Hungarian. This task was undertaken at the world premiere by Alrun Zahoransky - hence the title of the work. The player applying the electronics, especially from the point of view of the instrumentation, produces sounds and manipulates the electronic sounds and the human voice. The piece does not require studio work, each tone or voice sounds in vivo (i.e. each presentation, each show is new). The focus is on the psychic process of the piece and not on the technical process; its different degrees of difficulty adapt to the possibilities of the presentation. The singer is Ágnes Zsigmondi. The translation of the song is: Come, leave my beautiful, my lily of the valley, Because the moon is mounted, alas. I will leave at dawn, wearing a high hat, alas.
Date: 1975
Creator: Székely, Iván
Partner: UNT Music Library