Archive for the ‘websites’ Category

Credit: Exploratorium

Credit: Exploratorium

Opera singers get a brief mention in one of the online exhibits of the Exploratorium, a science museum in San Francisco.

Now, it IS a really brief mention.  And the scientific explanation is somewhat (over?-)simplified.  But I guess you could use it to explain opera singer anatomy and acoustics to your kid!

At any rate, I think it’s cool to see opera singers highlighted in a science museum exhibit in any way, shape, or form!

And dude, I think I know that guy in the picture (and yes, he is in the biz…)

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resume

Since I’m working on my résumé at the moment, I thought I’d do a roundup of basic résumé writing resources for singers. (more…)

Photo Sep 03, 12 13 48 AM

This is for you opera/theatrical types out there.  After being in an acting class this summer, I was curious if iTunes U had any courses on related topics. I discovered that the National Theatre has a collection of video clips on iTunes U on every aspect of theatre, including:

Also, I found these other iTunes U courses and podcasts:

Remember, even if you’re not an Apple user, you can still access iTunes U content for free on a PC or Android device.

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open_university

I just stumbled onto a free online course, Schubert’s Lieder: Settings of Goethe’s Poems.  It’s offered by OpenLearn, a website that hosts free online courses offered by The Open University.  I haven’t delved into the course yet, but it could be useful – here’s the course description:

Schubert’s Lieder: Settings of Goethe’s Poems

This unit looks at the short poems in German that were set to music by Franz Schubert (1797–1828) for a single voice with piano, a genre known as ‘Lieder’ (the German for ‘songs’). Once they became widely known, Schubert’s Lieder influenced generations of songwriters up to the present day.This unit then discusses a selection of Schubert’s settings of Goethe’s poems, and recordings of all of them are provided. You can find the poems, in German with parallel translations into English and the music scores of four of the song settings, on the unit home page. You are not expected to be able to read the music, but even if you are not very familiar with musical notation, you may well find the scores useful in identifying what is happening in the songs.

By the end of your work on this unit you should:

  • have learned about Schubert’s place as a composer in early nineteenth-century Vienna;
  • have learned about the place of Schubert in the history of German song and the development of Romanticism;
  • be able to follow the words of songs by Schubert while listening to a recording, using parallel German and English texts;
  • be able to comment on the relationship between words and music in Schubert’s song settings.

The course was created by Dr. Robert Philip.

Description of OpenLearn (from their website):

OpenLearn gives you free access to learning materials from The Open University.

We launched OpenLearn back in October 2006 thanks to a grant from The William and Flora Hewlett Foundation. Our shared vision was free online education, open to anyone, anywhere in the world. OpenLearn is the result and we have since reached over 23 million people.

In the first two years, OpenLearn grew to include over 8000 study hours of learning materials from Open University courses. The website continues to grow with new course materials being published regularly in our OpenLearn ‘Try’ section.

Description of The Open University (from their website):

The Open University is a world leader in modern distance learning, the pioneer of teaching and learning methods which enable people to achieve their career and life goals studying at times and in places to suit them.

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There was a discussion thread on ChoralNet earlier this summer where choral conductors shared some experiences and tips for conducting from an iPad.  Here’s the link: Using an iPad for conducting

This comment was posted by Kristina Butler Houston:

I just conducted my first concert from my iPad. I also used ForScore and imported my music either by using my scanner or, for arrangements I had done myself, printing to a PDF file from Finale.

Ken Ahlberg had a couple of posts that caught my eye:

I have spent the past year using my iPad exclusively for both rehearsal and performances and it has changed my life.

I use ForScore as the app to read the music, but when I paired them with the AirTurn foot pedal when at the piano, and the Jot stylus I am able to run rehearsals with a fluidity and ease that was just a dream a year ago.  My previous habit of using only pencil to mark my music so changes can be erased has been replaced with the option to write in the score in a multitued of colors, as will as a choice of thickness and darkness.  The ability to type directly on the score in a varity of fonts, colors and sizes was an unexpected benefit.  Having limitless highlight choices is extremely handy as well.

The option I was surprised to find but which I have come to use often is the “White Out” feature.  When combined with ForScore’s rearrange feature, it is possible to see all of the music that is to be performed start to finish in one continuous path without the need to jump and skip over or back to sections. I was stunned when I realized how much brainpower I use in just keeping on track, especially when leading a piece filled with repeats, del Signe and Coda sections.  I can now hear so much more of my chorus’ singing when my music is a “stretched out” before me.

Little things like the built in pitch pipe, piano keyboard and the metronome are so very handy.  Just last night, I had the lead of our production come to me asking for help during a break, and I was able to show her the part in question, pull up the piano keyboard and help put her mind at ease all while the cast was making noise as if they were at a cocktail party.  There was so need to climb into the orchestra pit to get to the piano.

There is a learning curve to feel comfortable using the iPad, but very quickly I came to realize that I would never go back to a backpack filled with paper scores, and pitchpipes, and metronomes, and colored pencils, and highlighters, and white out again.

I have been pondering the apparent distrust of the use of the tablet by some, and its seeming purpose to cheat composers out of their livelihood.  I, for one, am anxious for more composers to recognize this is a tool we will continue to use and provide ways for us to simply put the music on our tablets.  [Composer] Michael McGlynn has devised a simple yet effective way to get his music in our hands while maintaining control over the number of legal copies distributed.  I am truly unwilling to check out any unfamiliar composers who resist this way of doing things when there are so many excellent composers who are embracing the multitudes who have made the switch.

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Well, the ink is hardly dry on my previous blog post, Web search tips for thematic programming of a concert/recital, and now fellow techie singer Katia H. has created a search tool that searches all of the websites mentioned in my post, in one fell swoop!  It’s over at classicalsongsearch.com.  It’s still in alpha so there still might be some kinks to work out, but give it a whirl and let Katia know if you have any problems or suggestions!

Grazie mille, Katia!

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So one of the things that’s been sucking away at my time for blog-writing these last couple months is that I’ve been organizing and programming a benefit concert.  While hunting for pieces related to the concert themes, it occurred to me to share some of the Google-fu that I use for finding music.  I’m sure these tips are old hat to some of you tech-savvy singers, but others might find them useful.

So, one of my objectives was to find vocal solo or small ensemble pieces from the opera, art song, musical theater, or popular genres on the theme of “gold” or “golden”, since the concert benefits an organization celebrating its golden anniversary season.  I did this by using keyword searches on the following websites:

Several of these sites contain texts in various translations, so I made sure to search for translated versions of my keywords, too.  E.g., in addition to searching for “gold” I would also search for terms “oro”, “d’or”, etc.  (It had to be “d’or” for French since “or” would yield too many search results in English texts!)  Translating the search terms is less necessary for some of the sites, like The Lied, Art Song, and Choral Texts Archive and  Aria Database because they have English translations of many texts, so my keyword search for “gold” will still yield songs in other languages.  Other sites like Opernführer might only have the libretto in the original language or in German, for example, so translating the search keywords is a definite help there.

As for search engines – some of the sites above have a very good site search feature, e.g. The Lied, Art Song, and Choral Texts Archive and AllMusicals.com, so you can just go directly to their website and enter the keywords into the search form there.  But sometimes a website doesn’t have a site search feature (e.g. OperaGlass), the site search feature is too specialized for a general text search (Aria Database), or the site search does not return results of sufficient quantity or quality.  In this case, you can do a Google search with the following syntax in order to narrow your search results to a particular site – just include “site:” followed by the domain name of the website to search, with no space in-between:

gold site:opera.stanford.edu

google_search_syntax_example

Once I found song texts that fit my programming theme, I was able to track down scores for songs through online sheet music sellers, IMSLP, CPDL, or by using WorldCat to find scores in libraries local to me.

8/26/13 UPDATE 1: Fellow techie singer Katia H. has created a search tool that searches all of the websites mentioned above, in one fell swoop!  It’s over at classicalsongsearch.com – check it out!

8/26/13 UPDATE 2: Glendower Jones contributed this very useful info in the comments for this post:

This is great advice. Many folks may not know of the many massive reference books on vocal repertoire that were written by Sergius Kagen, Noni Espina, Michael Pilkington, Judith Carman, Graham Johnson, Shirley Emmons and Carol Kimball. A very useful reference is Pazdirek, the BBC Song Catalogue and Classical Vocal Music in Print and of course Groves and MGG. I don’t know, but possibly some of these books may now be on Google books.

These are some of the major references but still only a drop in the bucket. Pazdirek, Universal-Handbuch der Musikliteratur was produced in Vienna from 1904-1910 and contained the compilation of practically every music publisher active at the time. This was reprinted in 1967 in the Netherlands and is now free online. Few musicians know of this amazing work. http://archive.org/details/universalhandboo01pazd

Also, in a Facebook comment, Nicholas Perna adds:

As a shameless plug, I can also recommend readers search for Britten’s entire output using The Comprehensive Britten Song Database! www.brittensongdatabase.com

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