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Basile Bolotine (1895-1981) was a beloved falsettist in the choir for many years, and thanks to his recorded legacy, his music is still cherished. Because his name has never been well known, this essay seeks to introduce him by name both to those who have and have not yet experienced his music. [...]dressed in their shabby military attire, they sang so expressively and with such superb technique that the huge audience, which had attended mainly out of curiosity, was ecstatic.3 They became internationally famous overnight, were booked for tours immediately, and would enthrall millions of people in the non-Soviet world for nearly sixty years (Figure 1). Any exile who had opposed the Bolsheviks was cruelly deprived of Russian citizenship in 1922. [...]Jaroff s choristers, although based in Berlin for years, were stateless. The ensemble appealed to a broad spectrum of the public, constantly playing to packed houses and steadily receiving rave reviews.13 The choir was organized into six basic sections- falsetto, first tenor, second tenor, baritone, bass, and octavist-and Jaroff featured soloists from all of them in his concerts and recordings.

A conference on falsetto singing and countertenors, held in Schwerte, Germany, December 11-13, 2009, is discussed.

Research has shown that different musical instruments have unique emotional characteristics;voice research has investigated the timbre and low-level acoustic features of the soprano voiceand their correlation with emotional expressiveness. This thesis investigates how pitch,dynamics, and vowel influence the emotional characteristics of the western classical solosinging voices. Listening tests were conducted whereby listeners gave absolute judgments overten emotional categories on the soprano, mezzo-soprano, alto, countertenor, tenor, baritone,and bass voice tones, comprised of two dynamic levels (loud, soft), three pitches (octave-stepswithin individual voices), and five vowels (A, E, I, O, U); the data were subsequentlyanalyzed via logistic regression.Regarding dynamics, loud tones dominated the high-arousal categories (Happy, Heroic,Comic, Angry, Scary) whereas soft tones dominated the low-arousal categories (Romantic,Calm, Mysterious, Shy, Sad). Regarding pitch trends across the low-to-high pitch range,Happy, Heroic, Romantic, and Comic were overall upward; Mysterious, Shy, Scary, and Sadwere undulating yet overall flat; Calm was asymmetric arch-shaped with peaks at A2 and E3;Angry was irregularly sawtooth-shaped. Regarding vowel, the low-arousal categories(Romantic, Calm, Mysterious, Shy, Sad) and overall had a similar vowel profile of Adownward to E then upward to I, O, U; there were no discernible vowel profile similaritiesamong the remaining high-arousal categories. The overall vowel strength-of-expressivenessranking was U first, followed by O and A, with I and E last; synthesized vocal/choralinstruments typically only supply A, O, and U vowel samples. Among the voices, thesoprano and countertenor had comparatively lower significant differences between the vowels; vice versa for the baritone.Overall, pitch had the strongest marginal effect on the emotional characteristics, closelyfollowed by dynamics, with both effects approximately twice as strong as the vowel marginaleffect. These results give a quantified preliminary perspective on how pitch, dynamics, andvowel shape emotional expression in the western classical solo singing voices.

[...]the turn position was quite high in the back of the tongue for the stage voice and this might be related to different resonatory strategies applied to the stage falsetto for countertenors, and this, of course, is introducing another filter property of the vocal tract. Here, there are more grades of freedom for these activities by using the lower or abdominal muscles of the human body rather than the neck muscles. [...]for singers, it is much more effective to use the diaphragm, a lower muscle in the body that divides the thorax from the abdomen, for inhalation, rather than the external intercostal muscles near the ribs, or the strep or neck muscles located in the neck. Since the lung volume is decreasing from the beginning to the end of a phonation, the passive recoil forces are different. [...]the strategy of muscle activation to achieve a constant subglottic pressure for a mezzo forte tone differs from the beginning and the end of a phonation. If you have a voice source which is modified by the vocal tract, you will get the sound with its spectrum radiated at the mouth. [...]this sound, which is the base for a perceptual identification of registers, is a combination of the voice source, the vocal tract, and interactions of both.

The book description for \"Chronology of the Works of Guillaume Dufay\" is currently unavailable.

In his centenary year, this article is an examination of the background, career, style and influence of the first famous countertenor of modern times: Alfred Deller. It covers critical and public reaction to a rediscovered voice and its repertory, the special nature of Deller as a performer, and his own attitudes towards a theoretical and/or intellectual approach to historically informed performance practice.

The sheet music for a pair of songs (\"Partial Lunar Eclipse, Sept. 7th, 2006\" and \"A Pastoral Lament\") for mezzo-soprano or countertenor and piano by Lori Laitman is reviewed (BMI). The songs were commissioned by the Lyric Society for Word-Music Relations to commemorate the 40th anniversaries of the deaths of Martin Luther King, Jr., and Robert Kennedy.