Fellow Singers, Does anyone have any advice to give regarding units for air purification? I got some money for Christmas, and was considering buying one, because there is much dust, allergens, etc in my house, and I have heard good things about them. Unfortunately, I know almost nothing about them, and I have never owned one. Some, from what I have heard, use a filtration system, while others use some sort of ionization process. Any information you can send my way would help me make a good decision. Thanks for your help!
David Grogan ETBU Music
----- Original Message ----- From: Lloyd W. Hanson <lloyd.hanson@n...> From: Lloyd W. Hanson <lloyd.hanson@n...> To: <vocalist-temporary@egroups.com> To: <vocalist-temporary@egroups.com> Sent: Monday, January 01, 2001 10:34 PM Subject: [vocalist] Female High Registers and Opera
> Dear Mike and Vocalisters: > > The reaction to female voices singing in their upper registers in classical > vocal mode or, as some call it, "opera style", is often related to the > female voice as it is used when a woman is hysterical. > > Male voices used in an equivalent male range is still an octave lower and, > typically, an hysterical male does not usually scream in the upper > registers of his voice. I believe this is one of the primary reasons that > many who do not care for opera frequently complain about the quality of the > upper registers in the female voice. > > Please do not confuse my comments on teaching singing as an endorsement of > singing as a kind of speech. As I stated most clearly "Singing is > different from speech". And the singing required of a performer who must > be heard over an orchestra in a large hall is even more removed from most > of the qualities of speech. > > Opera is a highly refined and, in that sense, a most abstract performing > art. Opera should never be the same as real life even if it uses a story > from real contemporary life. Opera is, and should be, a synthesis of those > parts of life that give life a deeper meaning. Opera must have a primary > concern with the means that will bring such fundamental parts of life into > a new and more poignant focus. > > One of those means is to have the actors sing rather than speak and the more > that their singing is different from speech the more complete is the > synthesis necessary for the opera form to be successful. To complain that > opera is too far removed from what is natural on stage (singing high in the > female range included) is to miss the whole point of what opera is about. > Opera should not be natural; it should be the synthesis of what is natural. > In so doing opera can more clearly define the essence of what is natural > without considering the causes or processes of naturalness. > > Opera attempts to create a kind of distillation of those natural elements > which give life meaning. This is a most lofty and extremely difficult > goal. When opera is successful in achieving this goal it is the most > sublime and meaningful of the performing arts; when it fails to meet this > goal opera is the most destitute and ridicules of all the arts. The bar is > very high; misses are easily discerned. > > Regards > -- > Lloyd W. Hanson, DMA > Professor of Voice, Vocal Pedagogy > School of Performing Arts > Northern Arizona University > Flagstaff, AZ 86011 > > > > > >
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