Coming soon. Self-Accompanied Classical Singing: Reviving a Lost Art
- Editor: Green, Lucy
Coming soon. Self-Accompanied Classical Singing: Reviving a Lost Art
- Editor: Green, Lucy
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About
Self-Accompanied Classical Singing: Reviving a Lost Art explores the historical and current-day phenomenon of classical singers accompanying themselves. The book charts the journey of self-accompanied singing through the history of classical music from the 14th century and presents extensive research involving over 100 classical singers today. It aims to generate discussion about the practice of self-accompaniment in both the past and the present; strengthen networks of singers engaged in self-accompaniment; foster self-accompaniment as a revived professional practice in the classical sphere; and provide information and inspiration to music educators, from the school to the conservatoire.
Written for a broad audience, Self-Accompanied Classical Singing will appeal to professional singers, teachers and students of singing; Artistic Directors of concert halls and festivals; and researchers, teachers and students of performance studies, music history, music education, and the sociology and psychology of music.
Contents
- Acknowledgements
- Biographies of the authors
- Preface
- Chap 1 : Lucy Green – Why does classical self-accompaniment matter?
- SECTION 1: SELF-ACCOMPANIED CLASSICAL SINGING FROM THE 13TH TO THE 21ST CENTURIES
- Lucy Green – Introduction and overview
- Chap 2 : Beth Garfinkle – Self-accompanied singing from the 12th to the 16th century: the troubadours to the concerti delle donne
- Chap 3 : Robin Bier – Self-accompanied singing, vocal pedagogy, and practice in the 17th and 18th centuries
- Chap 4 : Hermione Ruck Keene – Self-accompaniment by women in the 19th century: negotiating the private and the public spheres
- Chap 5 : Robin Bier – The decline of professional self-accompaniment in the 20th century
- Chap 6 : Elizabeth Pearse – The re-emergence of self-accompaniment in contemporary classical music
- SECTION 2: THE REVIVAL OF SELF-ACCOMPANIMENT IN CLASSICAL SINGING TODAY?
- Lucy Green – Introduction and overview
- Chap 7 : David Baker and Lucy Green – Quantitative survey results: Practices and attitudes amongst today’s classical singers concerning self-accompaniment
- Chap 8 : Michael Bonshor and Lucy Green – Qualitative survey results: Divided views about self-accompaniment amongst classical singers today
- Chap 9 : Janet Oates – Phenomenological perspectives from novice singer-pianists
- Chap 10 : Lucy Green – The practices of experienced singer-pianists: How does professional self-accompaniment begin, and how can it lead to public performance?
- Chap 11 : Lucy Green – The values of experienced singer-pianists: challenge, fulfilment, feedback, and education
- SECTION 3: WHAT COULD COME NEXT?
- Lucy Green – Introduction and overview
- Chap 12 : Lucy Green – The potential of self-accompaniment for future research, performance practice and education
- APPENDICES AND INTERNET LINKS
- Appendix A: Some current-day and historical classical self-accompanists
- Ai) Early music current-day self-accompanists who sing with plucked or bowed strings (generally performing music up to ca. 1750)
- Aii) Classical current-day self-accompanists who sing with keyboard and bowed strings (generally performing music since ca. 1750)
- Aiii) Conductors who sing and conduct at the same time
- Aiv) Self-accompanied songs posted on YouTube by international opera singers during the Covid lockdowns of 2020 to 2022
- Av) Historical film of self-accompanied performances by singer-pianists
- Appendix B: Chapter 9 research participants’ backgrounds and some final performances by novice singer-pianists
- Appendix C: Chapters 10 and 11 research participants’ biographies
