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In music, call and response is a compositional technique, often a succession of two distinct phrases that works like a conversation in music. One musician offers a phrase, and a second player answers with a direct commentary or response. The phrases can be vocal, instrumental, or both. [1]
Voice projection is the strength of speaking or singing whereby the human voice is used powerfully and clearly. It is a technique employed to command respect and attention, such as when a teacher talks to a class, or simply to be heard clearly, as used by an actor in a theatre or during drill. Breath technique is essential for proper voice ...
Examples include the Drama Centre at Flinders University in Adelaide, South Australia, where the Estill-based vocal technique is taught; [78] [79] London College of Music in its guidelines on the suggested development of vocal technique, as part of the music theatre syllabus, uses Estill Voice Training terminology; [80] Saint Mary's College of ...
In its physical aspect, singing has a well-defined technique that depends on the use of the lungs, which act as an air supply or bellows; on the larynx, which acts as a reed or vibrator; on the chest, head cavities and the skeleton, which have the function of an amplifier, as the tube in a wind instrument; and on the tongue, which together with the palate, teeth, and lips articulate and impose ...
Vocal styles, such as learning to sing opera, belt, or art song; Phonetics; Voice classification; All of these different concepts are a part of developing vocal technique. Not all voice teachers have the same opinions within every topic of study which causes variations in pedagogical approaches and vocal technique.
Particularly famous examples of extended vocal technique can be found in the music of Luciano Berio, John Cage, George Crumb, Peter Maxwell Davies, Hans Werner Henze, György Ligeti, Demetrio Stratos, Meredith Monk, Giacinto Scelsi, Arnold Schoenberg, Salvatore Sciarrino, Karlheinz Stockhausen, Tim Foust, Avi Kaplan, and Trevor Wishart.
The earliest compositional use of the technique was in the first version of Engelbert Humperdinck's 1897 melodrama Königskinder (in the 1910 version it was replaced by conventional singing), where it may have been intended to imitate a style already in use by singers of lieder and popular song, [3] but it is more closely associated with the composers of the Second Viennese School.
Throat singing techniques may be classified under an ethnomusicological approach, which considers cultural aspects, their associations to rituals, religious practices, storytelling, labor songs, vocal games, and other contexts; or a musical approach, which considers their artistic use, the basic acoustical principles, and the physiological and mechanical procedures to learn, train and produce ...