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    Tytuł:
    Personality traits in singers performing various music styles and with different singing status
    Autorzy:
    Sielska-Badurek, Ewelina M.
    Sobol, Maria
    Okulicz-Kozaryn, Katarzyna
    Gołda, Paweł
    Cielecka, Anna
    Powiązania:
    https://bibliotekanauki.pl/articles/21375405.pdf
    Data publikacji:
    2023-11-13
    Wydawca:
    Instytut Medycyny Pracy im. prof. dra Jerzego Nofera w Łodzi
    Tematy:
    personality
    personality traits
    singing
    singers
    music styles
    singer’s status
    Opis:
    Objectives Objective was to find personality traits in singers performing various music styles and with different singing status. Material and Methods The study consisted of 87 singers (66 females, 21 males; age: M±SD 25.5±8.2 years; 40 students, 22 professionals and 25 amateurs; 38 classical singers, 42 contemporary commercial music [CCM] singers; 55 solo singers and 22 choral singers). Participants filled in the NEO Five-Factor Inventory questionnaire and demographic information form. Results Median values compared to the Polish general population, suggest that solo, CCM, student and professional singers have a high level of conscientiousness. Those who sing in a choir, classical music, amateurs and students have relatively high level of agreeableness. High level of extraversion is observed among CCM singers and students. Students score higher on extraversion then professionals (p < 0.001). Professionals score higher on extraversion then amateurs (p < 0.01). Professionals less frequently than amateurs and students score high on agreeableness (p < 0.001). High scores on conscientiousness are significantly higher among professionals and students compared to amateurs (p < 0.001 in both cases). Solo singers have higher level of conscientiousness (p < 0.001) and openness (p < 0.001) and lower neuroticism (p < 0.01) than choral singers. Classical singers more often than CCM singers score low on openness (p < 0.01) and high on agreeableness (p < 0.01). Conclusions Classical singers have lower level of openness and higher level of agreeableness than CCM singers. Neuroticism is higher among choir than solo singers and conscientiousness is higher among solo than choir singers. Amateurs had the highest level of neuroticism and the lowest level of conscientiousness as compared with professional singers and students.
    Źródło:
    International Journal of Occupational Medicine and Environmental Health; 2023, 36, 4; 541-550
    1232-1087
    1896-494X
    Pojawia się w:
    International Journal of Occupational Medicine and Environmental Health
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Wspomnienia głosem pisane. O autobiografiach śpiewaków
    Memories sung in words — singers autobiographies
    Autorzy:
    Kornatowska, Beata
    Powiązania:
    https://bibliotekanauki.pl/articles/650201.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    polish singers
    polish literature
    autobiography
    Opis:
    The article Memories sung in words — singers' autobiographies aims at identifying main topics and patterns present in autobiographical writings of classical singers. Discovering of vocal talent and musicality, desire to become a singer, role of voice teachers and men-tors (conductors, stage directors etc.), highlights of the career, fears and failures, vocal crises, dealing with criticism and negative judgements, daily routines aimed on vocal fitness, balancing private and professional life, cultural and historical background — all these aspects are discussed here on two remarkable examples: ... und ich wäre so gern Primadonna gewesen. Erinnerungen (Berlin 1994, English: In My Own Voice. Memoirs. New York 2009) by Christa Ludwig, one of the greatest mezzo-sopranos of postwar opera, and Zeit eines Lebens. Auf Fährtensuche (Stuttgart 2000) by Dietrich Fischer-Dieskau, one of the most famous Lieder performers, often called in Germany ‘the voice of the 20th cen-tury’. Verbalizing the universe of their artistic and life experience they both express the essence of being a classical singer: ‘The singing profession is slavery! It only looks easy and enviable from the outside. You are showered with bravas and blossoms [...], but from the beginning the sword of Damocles always hangs over your head. After a certain age you no longer have the ease, and your voice is no longer as radiant. Indeed, you must stop singing just at the time when you finally know what singing is all about’ (Christa Ludwig, In My Own Voice. Memoirs).
    Źródło:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica; 2012, 16, 2; 140-154
    1505-9057
    2353-1908
    Pojawia się w:
    Acta Universitatis Lodziensis. Folia Litteraria Polonica
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Aspects of ageing on professional opera singer’s voice – preliminary findings
    Autorzy:
    Sobolewska, Aleksandra
    Claros, Pedro
    Pujol, Carmen
    Claros-Pujol, Astrid
    Powiązania:
    https://bibliotekanauki.pl/articles/1397512.pdf
    Data publikacji:
    2019
    Wydawca:
    Index Copernicus International
    Tematy:
    ageing
    fundamental frequency
    jitter
    opera singers
    Opis:
    Objectives: The main goals of this study were to assess the most significant morphological changes and acoustic measures for the ageing process of a professional opera singer’s voice. Design: This investigation included 58 healthy professional opera singers, who were compared with 42 young opera singers from the control group. Methods: All participants underwent a voice assessment protocol: ENT specialist examination and speech therapist evaluation. Acoustic parameters and subjective observations were obtained and analysed. R esults: Fundamental frequency (F0) level was distinctly decreased in the case of older female singers, but F0 in older male singers had stable levels in comparison to that in younger singers. Older singers were found not to have substantially different values of jitter than younger ones. Maximal phonation time (MPT) was longer in the older women’s group when compared to the younger singers, but not relatively different in the men’s group. Shimmer value presented no age-related change. Morphological changes seem to correlate with the age of subjects. C onclusions: The main characteristic of voice change with age was a decreased F0 level among older female professional singers and rather stable F0 levels in male singers. This study gives preliminary results on the ageing of voice in the population of professional opera singers.
    Źródło:
    Polish Journal of Otolaryngology; 2019, 73, 4; 29-34
    0030-6657
    2300-8423
    Pojawia się w:
    Polish Journal of Otolaryngology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    POLSKI RUCH ŚPIEWACZY W PRZEDWOJENNYM GDAŃSKU – ORGANIZACJA, ROLA SPOŁECZNA I REPERTUAR
    THE POLISH SINGERS MOVEMENT IN PRE-WAR GDAŃSK – ORGANIZATION, SOCIAL ROLE AND REPERTOIRE
    Autorzy:
    Schiller-Rydzewska, Joanna
    Powiązania:
    https://bibliotekanauki.pl/articles/566548.pdf
    Data publikacji:
    2019-01-03
    Wydawca:
    Akademia Pomorska w Słupsku
    Tematy:
    ruch śpiewaczy
    towarzystwa śpiewacze
    chóry
    przedwojenny Gdańsk
    Kazimierz Wiłkomirski
    Tadeusz Tylewski
    singers movement
    singers societies
    choirs
    pre-war Gdańsk
    Opis:
    The activity of Polish pre-war singing societies in the area of the Second Free City of Gdańsk was originally growing out of patriotic motives. Emphasizing Polish roots and cultivating national traditions was the most important premise for joint amateur singing. Gradually, however, the musical awareness of singers and their artistic ambitions also increased. The Polish community organized conducting courses were and educated youth at the Polish Conservatory of Music. In addition to eminent representatives of the native population, such as Tadeusz Tylewski, the group of those involved in the construction of the choral movement in pre-war Gdańsk was expanded by Kazimierz Wiłkomirski, whose arrival to the city was of enormous importance for the development of the Polish musical potential. At first, Gdańsk choirs performed popular repertoire – stylized folk songs, religious and occasional songs. In the 1930s, however, the works of the old masters and modern Polish choral music – the works of Żeleński, Maklakiewicz, Szymanowski, Szeligowski, and Wiechowicz – were reached. These repertoire items testify to the significant expansion of the executive potential of Gdańsk teams. Wiłkomirski and Tylewski also wrote to their needs, adapting their work to the specificity of the Polish musical life in prewar Gdańsk.
    Źródło:
    Ars inter Culturas; 2018, 7; 191-208
    2083-1226
    Pojawia się w:
    Ars inter Culturas
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Storie di emancipazione: Virginia Ramponi Andreini (1583–1631) dal suocero al marito
    Emancipation Stories: Virginia Ramponi Andreini (1583–1631) from Her Father-in-Law to Her Husband
    Autorzy:
    Besutti, Paola
    Powiązania:
    https://bibliotekanauki.pl/articles/446558.pdf
    Data publikacji:
    2019-11-30
    Wydawca:
    Wydawnictwo Adam Marszałek
    Tematy:
    actress
    female singers
    opera
    emancipation
    law
    attrici
    cantanti donne
    emancipazione
    diritto
    Opis:
    Numerous notarial deeds are kept in the State Archive of Mantua, involving some of the most famous comedians of the 17 th century. Piermaria Cecchini (Frittellino); Francesco Andreini and his sons Domenico and Giacinto; Giovan Battista (Lelio) with his son Pietro Enrico; Tristano Martinelli; and others used notaries for wills, sales contracts, debt reduction, inventories of assets, and dowries. Some of these documents also involve the women of the Andreini family: Lavinia (sister Fulvia), Caterina (perhaps sister Clarastella), Virginia Ramponi Andreini (Florinda). In particular, an emancipation deed (1620) indirectly affected Virginia (Genoa, 1583? – before 17 November 1631), the first wife of Giovan Battista Andreini. On the basis of document analysis, two perspectives are explored: Virginia’s peculiar contribution to the activities of the family, also from an economic point of view; and the status of women with regards to emancipation, which must be understood from a legal point of view that was patriarchal and defensive of property. The article thus becomes an opportunity to reflect, starting from Virginia but gazing even beyond, on the condition of women who were active in the theatrical and musical world between jurisprudence, artistic professions, economic heritage, and daily life. In conclusion, through some selected examples (the concerto delle dame of Ferrara, Adriana Basile, Margherita Salicola, Antonia Merighi), the theme of emancipation throughout the 17 th century is analysed, a period when women singers successfully populated the new operatic market. As the law remained unchanged, these women experimented with different strategies to protect their own person and assets.
    Nell’archivio di stato di Mantova sono conservati numerosi atti notarili, che coinvolgono alcuni fra i più famosi comici del Seicento. Piermaria Cecchini (Frittellino), Francesco Andreini e i suoi figli Domenico e Giacinto, Giovan Battista (Lelio) con suo figlio Pietro Enrico, Tristano Martinelli e altri, ricorsero ai notai per i loro testamenti, contratti d’acquisto e vendita, liberazione da crediti, inventari di beni e doti. Alcuni di quegli atti interessano anche i membri femminili della famiglia Andreini: Lavinia (suor Fulvia), Caterina (forse suor Clarastella), Virginia Ramponi Andreini (Florinda). In particolare, un atto di emancipazione (1620) toccò indirettamente Virginia (Genova, 1583 – ?, ante 17 novembre 1631), prima moglie di Giovan Battista Andreini. Sulla base dell’analisi del documento, vengono trattate due prospettive: il peculiare contributo di Virginia alle attività della famiglia anche sotto il profilo economico; lo stato delle donne nei confronti dell’emancipazione, intesa sotto il profilo giuridico che era patriarcale e difensivo dei patrimoni. Il documento diviene quindi occasione per riflettere, partendo da Virginia ma spingendo poi lo sguardo oltre, sulla condizione delle donne attive nel mondo teatrale e musicale fra giurisprudenza, professioni artistiche, patrimoni economici e vita quotidiana. In conclusione, attraverso alcuni selezionati esempi (il concerto delle dame di Ferrara, Adriana Basile, Margherita Salicola, Antonia Merighi), il tema dell’emancipazione viene osservato in tutto il Seicento, quando le cantanti donne popolavano il nuovo mercato operistico con successo, anche economico. Poiché la legge era rimasta invariata, esse sperimentarono diverse strategie per tutelare la propria persona e i propri patrimoni.
    Źródło:
    Italica Wratislaviensia; 2019, 10.2; 65-83
    2084-4514
    Pojawia się w:
    Italica Wratislaviensia
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Glam “Heroines”. Gaps in Glam Historicisation from Black Self-Feminised Musicians to the Herstory of Glam Rock
    Autorzy:
    Alexi, Katharina
    Powiązania:
    https://bibliotekanauki.pl/articles/2057127.pdf
    Data publikacji:
    2021-06-30
    Wydawca:
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
    Tematy:
    historia glam rocka
    glamowe piosenkarki
    czarnoskóre glamowe piosenkarki
    kanon muzyczny
    archiwa cyfrowe
    glam rock history
    female glam singers
    Black glam singers
    musical canon
    digital archives
    Opis:
    The narration of glam music, especially glam rock, as queer is countered by a canonisation of male white icons in pop musicology, which is illuminated and expanded in this article. Early glam performances by self-feminised Black musicians (Ward 1998) as well as the music making of female agents of glam rock are at the center of this exploration. Firstly, an outline of the current gender and race specific remembrance of glam rock is given. Secondly, the “glamorous” origins of glam music are questioned with Ward; musical canon of glam is also re-arranged regarding the category of gender by adding the basic biographies of two further female heroines, Bobbie McGee and Cherrie Vangelder-Smith. They are present in digital (DIY) media within practices of affective archiving (Baker 2015), which enable lyrics interpretation in this paper.
    Źródło:
    Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura; 2021, 13, 2; 7-20
    2083-7275
    Pojawia się w:
    Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Analysis of the relationship between emotion intensity and electrophysiology parameters during a voice examination of opera singers
    Autorzy:
    Krasnodębska, Paulina
    Szkiełkowska, Agata
    Pollak, Anita
    Romaniszyn-Kania, Patrycja
    Bugdol, Monika N.
    Bugdol, Marcin
    Mitas, Andrzej W.
    Powiązania:
    https://bibliotekanauki.pl/articles/28761992.pdf
    Data publikacji:
    2024-03-05
    Wydawca:
    Instytut Medycyny Pracy im. prof. dra Jerzego Nofera w Łodzi
    Tematy:
    electromyography
    job stress
    autonomic nervous system
    heart rate variability
    singers
    phonation
    Opis:
    Objectives Emotions and stress affect voice production. There are only a few reports in the literature on how changes in the autonomic nervous system affect voice production. The aim of this study was to examine emotions and measure stress reactions during a voice examination procedure, particularly changes in the muscles surrounding the larynx. Material and Methods The study material included 50 healthy volunteers (26 voice workers – opera singers, 24 control subjects), all without vocal complaints. All subjects had good voice quality in a perceptual assessment. The research procedure consisted of 4 parts: an ear, nose, and throat (ENT)‑phoniatric examination, surface electromyography, recording physiological indicators (heart rate and skin resistance) using a wearable wristband, and a psychological profile based on questionnaires. Results The results of the study demonstrated that there was a relationship between positive and negative emotions and stress reactions related to the voice examination procedure, as well as to the tone of the vocal tract muscles. There were significant correlations between measures describing the intensity of experienced emotions and vocal tract muscle maximum amplitude of the cricothyroid (CT) and sternocleidomastoid (SCM) muscles during phonation and non-phonation tasks. Subjects experiencing eustress (favorable stress response) had increased amplitude of submandibular and CT at rest and phonation. Subjects with high levels of negative emotions, revealed positive correlations with SCMmax during the glissando. The perception of positive and negative emotions caused different responses not only in the vocal tract but also in the vegetative system. Correlations were found between emotions and physiological parameters, most markedly in heart rate variability. A higher incidence of extreme emotions was observed in the professional group. Conclusions The activity of the vocal tract muscles depends on the type and intensity of the emotions and stress reactions. The perception of positive and negative emotions causes different responses in the vegetative system and the vocal tract.
    Źródło:
    International Journal of Occupational Medicine and Environmental Health; 2024, 37, 1; 84-97
    1232-1087
    1896-494X
    Pojawia się w:
    International Journal of Occupational Medicine and Environmental Health
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Mozart i śpiewacy: ograniczenie czy inspiracja?
    Mozart and singers: limitation or inspiration?
    Autorzy:
    Brandenburg, Daniel
    Powiązania:
    https://bibliotekanauki.pl/articles/920344.pdf
    Data publikacji:
    2009-06-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Mozart
    opera
    Italian singing conventions
    composing for singers
    XVIII century music
    muzyka XVIII w.
    Opis:
    Mozart and singers: limitation or inspiration?Stefan Kunze called the time before Mozart settled in Vienna the years of migration and study. Daniel Brandenburg in his article shows that in reference to the operas composed by young Mozart for Milan (Mitridate re di Ponto, 1770, Lucio Silla, 1772) and Munich (Idomeneo re di Creta, 1781), the process of education meant also mastering the Italian singing conventions. Composing for singers appears to be an inspirational task, although it was limited in various ways. That double effect is recorded in Mozart’s scores.
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2009, 7, 13-14; 87-96
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Considerations and demands in the voice care of contemporary commercial singers in occupational health and safety aspects
    Autorzy:
    Morawska, Joanna
    Niebudek-Bogusz, Ewa
    Pietruszewska, Wioletta
    Powiązania:
    https://bibliotekanauki.pl/articles/2082546.pdf
    Data publikacji:
    2022-02-18
    Wydawca:
    Instytut Medycyny Pracy im. prof. dra Jerzego Nofera w Łodzi
    Tematy:
    occupational voice
    occupational risk factors
    voice disorders
    vocal health
    diagnosis of voice disorders
    contemporary commercial singers
    Opis:
    Singers, classified as “vocal performers” are at an increased risk of developing voice disorders. The area of contemporary commercial singing has not been studied as extensively as classical singing. Non-classical singing is generally considered detrimental to vocal health and thus the information on challenges contemporary commercial singers (CCS) pose to otolaryngologists and other healthcare professionals is scarce. The authors present an overview of contemporary commercial singing styles in comparison to classical singing, discuss the notion of non-classical style being harmful to vocal health, present major risk factors associated with developing voice disorders in contemporary commercial singers, and outline the diagnostic process of vocal health assessment in this group of occupational voice users. Given that contemporary commercial singers constitute a unique and vast group of elite vocal performers, the authors stress the importance of raising awareness among healthcare professionals of the fact that these patients require special considerations for voice evaluation and treatment in the occupational health and safety framework. Med Pr. 2022;73(1):33–41
    Źródło:
    Medycyna Pracy; 2022, 73, 1; 33-41
    0465-5893
    2353-1339
    Pojawia się w:
    Medycyna Pracy
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Antonina Campi. Glosy do biografii
    Antonina Campi. Notes for a Biography
    Autorzy:
    Chmara-Żaczkiewicz, Barbara
    Powiązania:
    https://bibliotekanauki.pl/articles/25806168.pdf
    Data publikacji:
    2022
    Wydawca:
    Polska Akademia Nauk. Instytut Sztuki PAN
    Tematy:
    Antonina Campi
    opera wiedeńska
    śpiewaczki XIX w.
    Opera in Vienna
    female singers of 19th century
    Opis:
    Komunikat przybliża kilka mniej znanych faktów z życia śpiewaczki Antoniny Campi. Żyjąca na przełomie XVIII i XIX w. artystka była córką dyrygenta i skrzypka orkiestry lubelskiej katedry, Miklaszewicza. Karierę artystyczną rozpoczęła w Warszawie, ale szybko trafiła do Pragi i Wiednia, gdzie została zaproszona przez Emanuela Schikanedera, wybitnego i wpływowego znawcę teatru i reżysera, do udziału w inauguracji działalności Theater an der Wien. Od tego momentu stała się jedną z największych primadonn swoich czasów, uwielbianą zarówno w stolicy Austro-Węgier, jak i w innych ośrodkach europejskich.
    This report concerns several little-known facts from the life of the singer Antonina Campi, who lived around the turn of the nineteenth century, the daughter of one Miklaszewicz, a conductor and violinist with the orchestra of Lublin Cathedral. Having launched her career in Warsaw, Campi soon began to perform in Prague and Vienna, where she was invited by the eminent and influential theatre expert and director Emanuel Schikaneder to participate in the inauguration of the Theater an der Wien. From that time on, she became one of the greatest prime donne of her age, admired in the capital of Austria-Hungary as well as in other European centres.
    Źródło:
    Muzyka; 2022, 67, 1; 143-150
    0027-5344
    2720-7021
    Pojawia się w:
    Muzyka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
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