Titlebook: New Vocal Repertory; An Introduction Jane Manning Book 1986 Palgrave Macmillan, a division of Macmillan Publishers Limited 1986 design.perf

輕彈

antedate

極端的正確性

Dear Emily (1973)idiom is extremely straightforward. Many modern conventions of notation are used. In the passages without time signatures time is indicated in seconds (which need not be timed with a stop-watch), giving the performer extra freedom. There are various styles of delivery, including pitched speech and h

arbovirus

Five Lyrics of the T’ang Dynasty (1947)voice and piano. The music’s appeal is immediate. A variety of contrasting moods is displayed during the cycle’s short span. The singer should feel completely comfortable throughout. The economy of the writing is truly admirable and highly appropriate to the conciseness of the texts. A sparkling vit

GREG

Three Poems of Robert Frost (1942)lier, neo-classical idiom is not exacting and will not tax the inexperienced singer. The songs make a bright, extrovert impression and abound in rhythmic verve. A high baritone with a youthful timbre would be the ideal voice to bring out the texts with freshness and clarity. As with much American so

Limerick

幻想

Six de la Mare Songs (Nos. 1–4 and 6, 1966–71; no. 5, 1985) Elaine Hugh-Jones. Her songs show complete mastery and understanding of voice and piano writing. Although they are firmly based on a traditional musical style — that of English post-Romantic — the songs are not in the least derivative. The composer shows a wonderful assurance and freshness of appro

TRAWL

FLOUR

驚呼

Bucolics op. 28 (1968)ic supremely well. As in all good vocal writing, there is physical enjoyment to be had in the action of enunciating and, in some cases, lingering over the expressive syllables of the resonant texts. The whole effect is fresh and exuberant. The drama flows with the music, as do the dynamics which are