1.
Harry Belafonte
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Harry Belafonte is an American singer, songwriter, actor, and social activist. One of the most successful CARIBBEAN AMERICAN pop stars in history and his breakthrough album Calypso is the first million-selling LP by a single artist. Belafonte is perhaps best known for singing The Banana Boat Song and he has recorded in many genres, including blues, folk, gospel, show tunes, and American standards. He has also starred in films, most notably in Otto Premingers hit musical Carmen Jones, Island in the Sun. Belafonte was a supporter of the Civil Rights Movement in the 1950s and 1960s. Throughout his career, he has been an advocate for political and humanitarian causes, such as the anti-apartheid movement, since 1987, he has been a UNICEF Goodwill Ambassador. In recent years, he has been a critic of the policies of both the George W. Bush and Barack Obama presidential administrations. Harry Belafonte now acts as the American Civil Liberties Union celebrity ambassador for juvenile justice issues, Belafonte has won three Grammy Awards, including a Grammy Lifetime Achievement Award, an Emmy Award, and a Tony Award. In 1989, he received the Kennedy Center Honors and he was awarded the National Medal of Arts in 1994. In 2014, he received the Jean Hersholt Humanitarian Award at the Academys 6th Annual Governors Awards, in March 2014, he was awarded an honorary doctorate from Berklee College of Music in Boston. His mother was born in Jamaica, the child of a Scottish white mother and his father also was born in Jamaica, the child of a black mother and Dutch Jewish father of Sephardi origins. This is all Harry says about his Jewish grandfather, whom he never met, “a white Dutch Jew who drifted over to the islands after chasing gold and diamonds, from 1932 to 1940, he lived with one of his grandmothers in her native country of Jamaica. When he returned to New York City, he attended George Washington High School after which he joined the Navy and served during World War II. In the 1940s, he was working as a assistant in NYC when a tenant gave him, as a gratuity. He fell in love with the art form and also met Sidney Poitier, the financially struggling pair regularly purchased a single seat to local plays, trading places in between acts, after informing the other about the progression of the play. He subsequently received a Tony Award for his participation in the Broadway revue John Murray Andersons Almanac, Belafonte started his career in music as a club singer in New York to pay for his acting classes. The first time he appeared in front of an audience, he was backed by the Charlie Parker band, with guitarist and friend Millard Thomas, Belafonte soon made his debut at the legendary jazz club The Village Vanguard. In 1952, he received a contract with RCA Victor and his first widely released single, which went on to become his signature song with audience participation in virtually all his live performances, was Matilda, recorded April 27,1953
2.
Musik
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Music is an art form and cultural activity whose medium is sound organized in time. The common elements of music are pitch, rhythm, dynamics, different styles or types of music may emphasize, de-emphasize or omit some of these elements. The word derives from Greek μουσική, Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as the harmony of the spheres and it is music to my ears point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, There is no noise, the creation, performance, significance, and even the definition of music vary according to culture and social context. There are many types of music, including music, traditional music, art music, music written for religious ceremonies. For example, it can be hard to draw the line between some early 1980s hard rock and heavy metal, within the arts, music may be classified as a performing art, a fine art or as an auditory art. People may make music as a hobby, like a teen playing cello in a youth orchestra, the word derives from Greek μουσική. According to the Online Etymological Dictionary, the music is derived from mid-13c. Musike, from Old French musique and directly from Latin musica the art of music and this is derived from the. Greek mousike of the Muses, from fem. of mousikos pertaining to the Muses, from Mousa Muse. In classical Greece, any art in which the Muses presided, Music is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace. With the advent of recording, records of popular songs. Some music lovers create mix tapes of their songs, which serve as a self-portrait. An environment consisting solely of what is most ardently loved, amateur musicians can compose or perform music for their own pleasure, and derive their income elsewhere. Professional musicians sometimes work as freelancers or session musicians, seeking contracts and engagements in a variety of settings, There are often many links between amateur and professional musicians. Beginning amateur musicians take lessons with professional musicians, in community settings, advanced amateur musicians perform with professional musicians in a variety of ensembles such as community concert bands and community orchestras. However, there are many cases where a live performance in front of an audience is also recorded and distributed. Live concert recordings are popular in classical music and in popular music forms such as rock, where illegally taped live concerts are prized by music lovers
3.
Menschliche Stimme
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The human voice consists of sound made by a human being using the vocal folds for talking, singing, laughing, crying, screaming, etc. The human voice frequency is specifically a part of sound production in which the vocal folds are the primary sound source. Generally speaking, the mechanism for generating the human voice can be subdivided into three parts, the lungs, the vocal folds within the larynx, and the articulators, the lung must produce adequate airflow and air pressure to vibrate vocal folds. The vocal folds are a vibrating valve that chops up the airflow from the lungs into audible pulses that form the sound source. The muscles of the larynx adjust the length and tension of the folds to ‘fine-tune’ pitch. The articulators articulate and filter the sound emanating from the larynx, the vocal folds, in combination with the articulators, are capable of producing highly intricate arrays of sound. The tone of voice may be modulated to suggest emotions such as anger, surprise, singers use the human voice as an instrument for creating music. Adult men and women typically have different sizes of vocal fold, adult male voices are usually lower-pitched and have larger folds. The male vocal folds, are between 17 mm and 25 mm in length, the female vocal folds are between 12.5 mm and 17.5 mm in length. The folds are within the larynx and they are attached at the back to the arytenoids cartilages, and at the front to the thyroid cartilage. They have no outer edge as they blend into the side of the tube while their inner edges or margins are free to vibrate. They have a three layer construction of an epithelium, vocal ligament, then muscle, which can shorten and they are flat triangular bands and are pearly white in color. Above both sides of the cord is the vestibular fold or false vocal cord, which has a small sac between its two folds. The difference in vocal folds size between men and women means that they have differently pitched voices, additionally, genetics also causes variances amongst the same sex, with mens and womens singing voices being categorized into types. For example, among men, there are bass, baritone, tenor and countertenor, there are additional categories for operatic voices, see voice type. This is not the source of difference between male and female voice. Men, generally speaking, have a vocal tract, which essentially gives the resultant voice a lower-sounding timbre. This is mostly independent of the folds themselves
4.
Improvisation (Musik)
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Sometimes musical ideas in improvisation are spontaneous, but may be based on chord changes in classical music, and many other kinds of music. One definition is a performance given extempore without planning or preparation, another definition is to play or sing extemporaneously, by inventing variations on a melody or creating new melodies, rhythms and harmonies. Improvisation is often done within a harmonic framework or chord progression. Improvisation is a part of some types of 20th-century music, such as blues, jazz. Throughout the eras of the Western art music tradition, including the Medieval, Renaissance, Baroque, Classical, Bach, Handel, Mozart, Beethoven, Chopin, Liszt, and many other famous composers and musicians were known especially for their improvisational skills. Improvisation might have played an important role in the monophonic period, the earliest treatises on polyphony, such as the Musica enchiriadis, indicate that added parts were improvised for centuries before the first notated examples. However, it was only in the century that theorists began making a hard distinction between improvised and written music. Handel, Scarlatti, and Bach all belonged to a tradition of solo keyboard improvisation, in the Baroque era, performers improvised ornaments and basso continuo keyboard players improvised chord voicings based on figured bass notation. At the same time, some contemporary composers from the 20th, in Indian classical music, improvisation is a core component and an essential criterion of performances. In Indian, Afghani, Pakistani, and Bangladeshi classical music, the Encyclopædia Britannica defines a raga as a melodic framework for improvisation and composition. Keyboard players likewise performed extempore, freely formed pieces, the pattern of chords in many baroque preludes, for example, can be played on keyboard and guitar over a pedal tone or repeated bass notes. Such progressions can be used in other structures and contexts, and are still found in Mozart. Bach, for example, was fond of the sound produced by the dominant seventh harmony played over, i. e. suspended against. This shift of roles between treble and bass is another definitive characteristic, finally, in keeping with this polarity, the kind of question and answer which appears in baroque music has the appearance of fugue or canon. This method was a favorite in compositions by Scarlatti and Handel especially at the beginning of a piece, improvised accompaniment over a figured bass was a common practice during the Baroque era, and to some extent the following periods. Improvisation remains a feature of playing in some church services and are regularly also performed at concerts. Dietrich Buxtehude and Johann Sebastian Bach were regarded in the Baroque period as highly skilled organ improvisers, maurice Duruflé, a great improviser himself, transcribed improvisations by Louis Vierne and Charles Tournemire. Olivier Latry later wrote his improvisations as a compositions, for example Salve Regina, Classical music departs from baroque style in that sometimes several voices may move together as chords involving both hands, to form brief phrases without any passing tones
5.
Kunstlied
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Lied originally denoted in classical music the setting of German poems to music, beginning in the late-fourteenth or early fifteenth centuries. It later came especially to refer to settings of Romantic poetry during the eighteenth and nineteenth centuries. Examples include settings by Ludwig van Beethoven and Franz Schubert, among English speakers, however, Lied is often used interchangeably with art song to encompass works that the tradition has inspired in other languages. The poems that have made into Lieder often center on pastoral themes or themes of romantic love. Typically, Lieder are arranged for a singer and piano. Some of the most famous examples of Lieder are Schuberts Der Tod und das Mädchen, Gretchen am Spinnrade, Schubert and Schumann are most closely associated with this genre, mainly developed in the Romantic era. For German-speakers, the term Lied has a long history ranging from twelfth-century troubadour songs via folk songs, the word Lied for song first came into general use in German during the early fifteenth century, largely displacing the earlier word Gesang. The poet and composer Oswald von Wolkenstein is sometimes claimed as the creator of the Lied, because of his innovations in combining words and music. The late-fourteenth-century composer known as the Monk of Salzburg wrote six two-part Lieder which are older still, in Germany, the great age of song came in the nineteenth century. Schubert wrote over 600 songs, some of them in sequences or song cycles that relate an adventure of the rather than the body. The tradition was continued by Schumann, Brahms, and Hugo Wolf, and on into the 20th century by Strauss, Mahler, partisans of atonal music, such as Arnold Schoenberg and Anton Webern, composed Lieder in their own style. England too had a flowering of song, more closely associated, however, with folk songs than with art songs, as represented by Vaughan Williams, Benjamin Britten, Ivor Gurney, and Gerald Finzi. At the end of the 19th century and during the 20th century, alphons Diepenbrock and Henk Badings composed Dutch, German, English, and French songs, as well as songs in Latin for choirs. Böker-Heil, Norbert, David Fallows, John H. Baron, James Parsons, Eric Sams, Graham Johnson, grove Music Online, edited by Deane L. Root. Oxford University Press, accessed December 26,2016, a Multitude of Voices, The Lied at Mid Century. In The Cambridge Companion to the Lied, edited by James Parsons, Cambridge and New York, Cambridge University Press. The Circulation of the Lied, The Double Life of an Art Form, in The Cambridge Companion to the Lied, edited by James Parsons, 301–14. Cambridge and New York, Cambridge University Press, the Oxford Companion to Music, edited by Alison Latham
6.
Belcanto
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Bel canto, along with a number of similar constructions, is a term relating to Italian singing. It has several different meanings and is subject to a variety of interpretations. Nonetheless, neither musical nor general dictionaries saw fit to attempt definition until after 1900, the term remains vague and ambiguous in the 21st century and is often used to evoke a lost singing tradition. As generally understood today, the bel canto refers to the Italian-originated vocal style that prevailed throughout most of Europe during the 18th century. Operas received the most dramatic use of the techniques, but the bel canto style applies equally to oratorio, the da capo arias these works contained provided challenges for singers, as the repeat of the opening section prevented the story line from progressing. Nonetheless, singers needed to keep the emotional drama moving forward, Singers regularly embellished both arias and recitatives, but did so by tailoring their embellishments to the prevailing sentiments of the piece. Two famous 18th-century teachers of the style were Antonio Bernacchi and Nicola Porpora, a number of these teachers were castrati. In another application, the bel canto is sometimes attached to Italian operas written by Vincenzo Bellini. These composers wrote works for the stage during what musicologists sometimes call the bel canto era. The last important opera role for a castrato was written in 1824 by Giacomo Meyerbeer, wagner decried the Italian singing model, alleging that it was concerned merely with whether that G or A will come out roundly. He advocated a new, Germanic school of singing which would draw the spiritually energetic, interestingly enough, French musicians and composers never embraced the more florid extremes of the 18th-century Italian bel canto style. They disliked the voice and because they placed a premium on the clear enunciation of the texts of their vocal music. The popularity of the bel canto style as espoused by Rossini, Donizetti and it was overtaken by a heavier, more ardent, less embroidered approach to singing that was necessary in order to perform the innovative works of Giuseppe Verdi with maximum dramatic impact. Sopranos and baritones reacted in a fashion to their tenor colleagues when confronted with Verdis drama-filled compositions. To others, however, bel canto became the art of elegant. Rossini lamented in a conversation took place in Paris in 1858 that, Alas for us. Similarly, the so-called German style was as derided as much as it was heralded, in the late-19th century and early-20th century, the term bel canto was resurrected by singing teachers in Italy, among whom the retired Verdi baritone Antonio Cotogni was a pre-eminent figure. During the 1890s, the directors of the Bayreuth Festival initiated a particularly forceful style of Wagnerian singing that was totally at odds with the Italian ideals of bel canto
7.
A cappella
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A cappella music is specifically group or solo singing without instrumental accompaniment, or a piece intended to be performed in this way. It contrasts with cantata, which is usually accompanied singing, the term a cappella was originally intended to differentiate between Renaissance polyphony and Baroque concertato style. The term is used, albeit rarely, as a synonym for alla breve. A cappella music was used in religious music, especially church music as well as anasheed. Gregorian chant is an example of a singing, as is the majority of secular vocal music from the Renaissance. The madrigal, up until its development in the early Baroque into a form, is also usually in a cappella form. Jewish and Christian music were originally a cappella, and this practice has continued in both of these religions as well as in Islam, the polyphony of Christian a cappella music began to develop in Europe around the late 15th century AD, with compositions by Josquin des Prez. The early a cappella polyphonies may have had an accompanying instrument, by the 16th century, a cappella polyphony had further developed, but gradually, the cantata began to take the place of a cappella forms. 16th century a cappella polyphony, nonetheless, continued to influence church composers throughout this period and to the present day. Recent evidence has shown some of the early pieces by Palestrina. Such is seen in the life of Palestrina becoming an influence on Bach. In the Byzantine Rite of the Eastern Orthodox Church and the Eastern Catholic Churches, bishop Kallistos Ware says, The service is sung, even though there may be no choir. In the Orthodox Church today, as in the early Church, singing is unaccompanied and this a cappella behavior arises from strict interpretation of Psalms 150, which states, Let every thing that hath breath praise the Lord. Divine Liturgies and Western Rite masses composed by composers such as Peter Tchaikovsky, Sergei Rachmaninoff, Alexander Arkhangelsky. Certain high church services and other events in liturgical churches may be a cappella. Many Mennonites also conduct some or all of their services without instruments, sacred Harp, a type of folk music, is an a cappella style of religious singing with shape notes, usually sung at singing conventions. Opponents of musical instruments in the Christian worship believe that opposition is supported by the Christian scriptures. There is no reference to music in early church worship in the New Testament
8.
Oper
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Opera is an art form in which singers and musicians perform a dramatic work combining text and musical score, usually in a theatrical setting. In traditional opera, singers do two types of singing, recitative, a style and arias, a more melodic style. Opera incorporates many of the elements of theatre, such as acting, scenery. The performance is given in an opera house, accompanied by an orchestra or smaller musical ensemble. Opera is a key part of the Western classical music tradition, in the 18th century, Italian opera continued to dominate most of Europe, attracting foreign composers such as George Frideric Handel. Opera seria was the most prestigious form of Italian opera, until Christoph Willibald Gluck reacted against its artificiality with his operas in the 1760s. The first third of the 19th century saw the point of the bel canto style, with Gioachino Rossini, Gaetano Donizetti. It also saw the advent of Grand Opera typified by the works of Auber and Meyerbeer, the mid-to-late 19th century was a golden age of opera, led and dominated by Richard Wagner in Germany and Giuseppe Verdi in Italy. The popularity of opera continued through the era in Italy and contemporary French opera through to Giacomo Puccini. During the 19th century, parallel operatic traditions emerged in central and eastern Europe, the 20th century saw many experiments with modern styles, such as atonality and serialism, Neoclassicism, and Minimalism. With the rise of recording technology, singers such as Enrico Caruso, since the invention of radio and television, operas were also performed on these mediums. Beginning in 2006, a number of opera houses began to present live high-definition video transmissions of their performances in cinemas all over the world. In 2009, an opera company offered a download of a complete performance. The words of an opera are known as the libretto, some composers, notably Wagner, have written their own libretti, others have worked in close collaboration with their librettists, e. g. Mozart with Lorenzo Da Ponte. Vocal duets, trios and other ensembles often occur, and choruses are used to comment on the action, in some forms of opera, such as singspiel, opéra comique, operetta, and semi-opera, the recitative is mostly replaced by spoken dialogue. Melodic or semi-melodic passages occurring in the midst of, or instead of, the terminology of the various kinds of operatic voices is described in detail below. Over the 18th century, arias were accompanied by the orchestra. Subsequent composers have tended to follow Wagners example, though some, the changing role of the orchestra in opera is described in more detail below
9.
Tonhöhe
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Pitch can be determined only in sounds that have a frequency that is clear and stable enough to distinguish from noise. Pitch is a major attribute of musical tones, along with duration, loudness. Pitch may be quantified as a frequency, but pitch is not a purely objective physical property, Pitch is an auditory sensation in which a listener assigns musical tones to relative positions on a musical scale based primarily on their perception of the frequency of vibration. Pitch is closely related to frequency, but the two are not equivalent, frequency is an objective, scientific attribute that can be measured. Pitch is each persons subjective perception of a wave, which cannot be directly measured. However, this not necessarily mean that most people wont agree on which notes are higher and lower. Sound waves themselves do not have pitch, but their oscillations can be measured to obtain a frequency and it takes a sentient mind to map the internal quality of pitch. However, pitches are usually associated with, and thus quantified as frequencies in cycles per second, or hertz, by comparing sounds with pure tones, Complex and aperiodic sound waves can often be assigned a pitch by this method. According to the American National Standards Institute, pitch is the attribute of sound according to which sounds can be ordered on a scale from low to high. That is, high pitch means very rapid oscillation, and low pitch corresponds to slower oscillation, despite that, the idiom relating vertical height to sound pitch is shared by most languages. At least in English, it is just one of many deep conceptual metaphors that involve up/down, the exact etymological history of the musical sense of high and low pitch is still unclear. There is evidence that humans do actually perceive that the source of a sound is slightly higher or lower in vertical space when the frequency is increased or reduced. The pitch of tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, Pitch depends to a lesser degree on the sound pressure level of the tone, especially at frequencies below 1,000 Hz and above 2,000 Hz. The pitch of lower tones gets lower as sound pressure increases, for instance, a tone of 200 Hz that is very loud seems one semitone lower in pitch than if it is just barely audible. Above 2,000 Hz, the pitch gets higher as the sound gets louder, theories of pitch perception try to explain how the physical sound and specific physiology of the auditory system work together to yield the experience of pitch. In general, pitch perception theories can be divided into place coding, place theory holds that the perception of pitch is determined by the place of maximum excitation on the basilar membrane. However, a purely place-based theory cannot account for the accuracy of pitch perception in the low, temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus
10.
Tonsystem
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In music theory, pitch spaces model relationships between pitches. These models typically use distance to model the degree of relatedness, with closely related pitches placed near one another, depending on the complexity of the relationships under consideration, the models may be multidimensional. Models of pitch space are often graphs, groups, lattices, when octave-related pitches are not distinguished, we have instead pitch class spaces, which represent relationships between pitch classes. Chordal spaces model relationships between chords, the simplest pitch space model is the real line. 440 Hz is the frequency of concert A, which is the note 9 semitones above middle C. The system is enough to include microtones not found on standard piano keyboards. For example, the pitch halfway between C and C# can be labeled 60.5, one problem with linear pitch space is that it does not model the special relationship between octave-related pitches, or pitches sharing the same pitch class. This has led theorists such as M. W. Drobish, in these models, linear pitch space is wrapped around a cylinder so that all octave-related pitches lie along a single line. In these models, one dimension typically corresponds to perfect fifths while the other corresponds to major thirds. Additional dimensions can be used to represent additional intervals including—most typically—the octave, for this reason, it is hard to assess the psychological relevance of distance as measured by these lattices. The idea of pitch space goes back at least as far as the ancient Greek music theorists known as the Harmonists, to quote one of their number, Bacchius, And what is a diagram. A representation of a musical system, and we use a diagram so that, for students of the subject, matters which are hard to grasp with the hearing may appear before their eyes. The Harmonists drew geometrical pictures so that the intervals of various scales could be compared visually, higher-dimensional pitch spaces have also long been investigated. The use of a lattice was proposed by Euler to model just intonation using an axis of perfect fifths, similar models were the subject of intense investigation in the nineteenth century, chiefly by theorists such as Oettingen and Riemann. Contemporary theorists such as James Tenney and W. A. Mathieu carry on this tradition, drobisch was the first to suggest a helix to represent octave equivalence and recurrence, and hence to give a model of pitch space. Shepard regularizes Drobishs helix, and extends it to a helix of two wholetone scales over a circle of fifths which he calls the melodic map. Michael Tenzer suggests its use for Balinese gamelan music since the octaves are not 2,1, since the 19th century there have been many attempts to design isomorphic keyboards based on pitch spaces, the only ones to have caught on so far are several accordion layouts. Tonnetz Spiral array model Diatonic set theory Emancipation of the dissonance Unified field Vowel space Color space Cohn, neo Riemannian Operations, Parsimonious Trichords, and Their Tonnetz representations
Wikibooks: Gesang – Lern- und Lehrmaterialien
Wikiquote: Gesang – Zitate 
Wiktionary: Gesang – Bedeutungserklärungen, Wortherkunft, Synonyme, Übersetzungen