A History of Singing.

Cover; A HISTORY OF SINGING; Title; Copyright; Contents; Acknowledgements; Introduction; PART I Imagined voices; Chapter 1 Origins, myths and muses; WHAT MAKES US SING?; A POSSIBLE GENESIS; UNTANGLING UNIVERSALS; BIRDS AND BEASTS AS SINGERS; A SCIENTIFIC APPROACH; MYTHOLOGICAL CONCLUSIONS; PART II Historical voices; CHAPTER 2 The genesis of the Western tradition; SINGING IN THE WESTERN ART MUSIC TRADITION: AN OVERVIEW; ORAL TRADITION IN THE ANCIENT WORLD; ORAL TRADITION IN ANCIENT GREECE; CHRISTIANITY: A RELIGION OF THE VOICE; ORAL VERSUS WRITTEN SOURCES; THE SOUND OF MEDIEVAL SINGING.

NOTRE DAME AND AFTER: THE SPECIALISED SOLOISTSECULAR MONOPHONY: FROM ORAL TRADITION TO POETIC LYRIC; CHAPTER 3 The emerging soloist and the primacy of text; POLYPHONIC SONG; OCKEGHEM AND JOSQUIN: COMPOSING SINGERS; THE WRITTEN AND THE SUNG: INTABULATION; FROM POLYPHONIST TO SOLOIST: THE RISE OF THE VIRTUOSO; REVELATION VERSUS ROULADES: VIRTUOSITY AND THE PRIMACY OF TEXT; ITALIAN SINGING EXPORTED; CHAPTER 4 The age of the virtuoso; CASTRATO: AN ARTIFICIAL VOICE FOR VOCAL ARTIFICE; TRAINING AND PEDAGOGY: THE LONG TAIL OF RENAISSANCE TECHNIQUES; FROM PRIMO UOMO TO PRIMA DONNA.

TOSI'S EUROPEAN REACHTHE COMPOSER AS SINGER; CHAPTER 5 The nineteenth-century revolution; THE RISING MALE; NEW TIMES, NEW TEACHING: GARCIA AND THE CONSERVATOIRE; TECHNIQUE AND STYLE POST-GARCIA; WAGNER'S VOCAL VISION; NEW SINGING, ANCIENT TRADITION; PART III Recorded voices; CHAPTER 6 A Great Tradition: singing through history -- history through singing; APOLOGIA; CARRIERS OF TRADITION; ORIGINS AND PRIORITIES; CARNATIC MUSIC; BIMUSICALITY: WESTERN MUSICIANS CAN MASTER INDIAN MUSIC; HINDUSTANI MUSIC: DHRUPAD; KHYAL; SINGING AND MODERN TECHNOLOGY; GENDER.

SINGING WITH THE HANDS AND THROUGH THE INSTRUMENTS HOW SINGING IS ACCOMPANIED; TOWARDS VOCAL AND INSTRUMENTAL PARITY; CHAPTER 7 Classical singing in the twentieth century: recording and retrenchment; THE GRAMOPHONE AND THE END OF INNOCENCE; THE SONG REPERTOIRE AND THE CREATION OF ART SONG; INTERPRETING THE FIRST RECORDINGS; PORTAMENTO AS A DEFINING CRITERION OF GOOD SINGING; THE WAR YEARS AND AFTER: 'STÄNDCHEN' AS A BAROMETER OF TASTE; PORTAMENTO AND CURRENT PERFORMANCE PRACTICE; FROM PARADIGM TO PERFORMANCE: PERFORMERS, TEACHERS AND THEIR MODELS.

CHAPTER 8 Post-classical: beyond the mainstreamSTYLISTIC FRAGMENTATION AND DIVERGENCE; THE EARLY MUSIC MOVEMENT; THE VOCAL AVANT-GARDE; CHAPTER 9 The emancipation of the popular voice; POPULAR CLASSICAL: ASPIRATIONAL IMITATION; THE MICROPHONE AND THE INTERNATIONAL PROJECTION OF INTIMACY; CROONING; VIRTUOSITY, IMPROVISATION AND THE LIMITS OF JAZZ; THE END OF AN ERA; ELVIS PRESLEY AND STYLISTIC SYNTHESIS; THE SINGER RECLAIMS THE SONG; HIP-HOP: A GLOBAL SUBCULTURE; THE END OF THE ANGLOPHONE ERA?; CHAPTER 10 Sung and unsung: singers and songs of the non-English-speaking world; GERMANY AND CABARET.

France and the chanson tradition.

From its prehistoric past to its multicultural present, this history examines singing as a historical and universal phenomenon.

Print version record.

Includes bibliographical references and index.

English.

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