Book Recommendations for Graduate School in Economics

Book Recommendations for Graduate School in Economics Q:Â If I need to accomplish a Ph.D. in financial matters what steps would you encourage me to take and what books and courses would I have to concentrate to pick up the information that is completely should have been ready to do and comprehend the exploration that is required for a Ph.D. A:Â Thank you for your inquiry. Its an inquiry that Im as often as possible posed, so the time has come for I made a page that I could go-to people toward. Its extremely hard to offer you a general response, in light of the fact that a great deal of it relies upon where youd like to get your Ph.D. from. Ph.D programs in financial matters change broadly in both quality and extent of what is educated. The methodology taken by European schools will in general be not the same as that of Canadian and American schools. The guidance in this article will predominantly apply to the individuals who are keen on entering a Ph.D. program in the United States or Canada, yet a great part of the guidance ought to apply to European projects also. There are four key branches of knowledge that youll should be extremely acquainted with to prevail in a Ph.D. program in financial aspects. 1. Microeconomics/Economic Theory Regardless of whether you intend to consider a subject which is nearer to Macroeconomics or Econometrics, it is critical to have a decent establishing in Microeconomic Theory. A great deal of work in subjects, for example, Political Economy and Public Finance are established in smaller scale establishments so youll help yourself colossally in these courses if youre effectively acquainted with significant level microeconomics. Most schools likewise expect you to take at any rate two courses in microeconomics, and frequently these courses are the most troublesome youll experience as an alumni understudy. Microeconomics Material You Must Know as a Bare Minimum I would suggest assessing the book Intermediate Microeconomics: A Modern Approach by Hal R. Varian. The most up to date version is the 6th one, bu in the event that you can locate a more seasoned utilized release costing less you might need to do that. Propelled Microeconomics Material that Would be Helpful to Know Hal Varian has a further developed book called just Microeconomic Analysis. Most financial aspects understudies know about the two books and allude to this book as essentially Varian and the Intermediate book as Baby Varian. A ton of the material in here is stuff you wouldnt be relied upon to know entering a program as its frequently instructed without precedent for Masters and Ph.D. programs. The more you can learn before you enter the Ph.D. program, the better you will do. What Microeconomics Book Youll Use When You Get There From what I can tell, Microeconomic Theory by Mas-Colell, Whinston, and Green is standard in numerous Ph.D. programs. Its what I utilized when I took Ph.D. courses in Microeconomics at the two Queens University at Kingston and the University of Rochester. Its a completely gigantic book, with hundreds and several training questions. The book is very troublesome in parts so youll need to have a decent foundation in microeconomic hypothesis before you tackle this one. 2. Macroeconomics Offering guidance on Macroeconomics books is significantly increasingly troublesome in light of the fact that Macroeconomics is instructed so uniquely in contrast to class to class. Your smartest choice is to perceive what books are utilized in the school that you might want to join in. The books will be totally extraordinary relying upon whether your school shows progressively Keynesian style Macroeconomics or Freshwater Macro which is educated at places like The Five Good Guys which incorporates the University of Chicago, the University of Minnesota, Northwestern University, University of Rochester, and University of Pennsylvania. The guidance Im going to give is for understudies who are heading off to a school that encourages to a greater degree a Chicago style approach. Macroeconomics Material You Must Know as a Bare Minimum I would suggest evaluating the book Advanced Macroeconomics by David Romer. In spite of the fact that it has the word Advanced in the title, its increasingly appropriate for significant level undergrad study. It has some Keynesian material also. On the off chance that you comprehend the material in this book, you ought to do well as an alumni understudy in Macroeconomics. Propelled Macroeconomics Material that would be Helpful to Know Rather than learning more Macroeconomics, it would be progressively useful to learn more on unique advancement. See my area on Math Economics books for more detail. What Macroeconomics Book Youll Use When You Get There At the point when I took Ph.D courses in Macroeconomics a couple of years prior we didnt truly utilize any reading material, rather we talked about diary articles. This is the situation in many courses at the Ph.D. level. I was lucky enough to have macroeconomics courses instructed by Per Krusell and Jeremy Greenwood and you could spend a whole course or two simply examining their work. One book that is utilized frequently is Recursive Methods in Economic Dynamics by Nancy L. Stokey and Robert E. Lucas Jr. In spite of the fact that the book is just about 15 years of age, its still very helpful for understanding the technique behind numerous macroeconomics articles. Ive likewise discovered Numerical Methods in Economics by Kenneth L. Judd to be very useful when youre attempting to get gauges from a model which doesn't have a shut structure arrangement. 3. Econometrics Material You Must Know as a Bare Minimum Theres many great undergrad messages on Econometrics out there. At the point when I instructed instructional exercises in undergrad Econometrics a year ago, we utilized Essentials of Econometrics by Damodar N. Gujarati. Its as helpful as some other undergrad text Ive seen on Econometrics. You can as a rule get a decent Econometrics text for next to no cash at a huge used book shop. A ton of college understudies cannot appear to hold back to dispose of their old econometrics materials. Propelled Econometrics Material that would be Helpful to Know Ive discovered two books rather valuable: Econometrics Analysis by William H. Greene and A Course in Econometrics by Arthur S. Goldberger. As in the Microeconomics area, these books spread a great deal of material which is presented just because at the alumni level. The more you know going in, however, the better possibility youll have of succeeding. What Econometrics Book Youll Use When You Get There Odds are youll experience the lord of all Econometrics books Estimation and Inference in Econometrics by Russell Davidson and James G. MacKinnon. This is a fabulous book, since it clarifies why things work as they do, and doesn't treat the make a difference as a discovery like numerous econometrics books do. The book is very exceptional, however the material can be gotten decently fast in the event that you have an essential information on geometry. 4. Science Having a decent comprehension of science is essential to accomplishment in financial aspects. Most college understudies, especially those originating from North America, are regularly stunned by how scientific alumni programs in financial matters are. The math goes past essential polynomial math and analytics, as it will in general be more confirmations, for example, Let (x_n) be a Cauchy succession. Show that on the off chance that (X_n) has a merged aftereffect then the arrangement is itself joined. Ive found that the best understudies in the primary year of a Ph.D. program will in general be ones with arithmetic foundations, not financial matters ones. That being stated, theres no motivation behind why somebody with a financial matters foundation can not succeed. Scientific Economics Material You Must Know as a Bare Minimum Youll surely need to peruse a decent undergrad Mathematics for Economists type book. The best one that Ive seen happens to be called Mathematics for Economists composed via Carl P. Simon and Lawrence Blume. It has a very assorted arrangement of points, which are all helpful instruments for monetary investigation. In the event that youre corroded on essential analytics, ensure you get a first year undergrad math book. There are hundreds and several unique ones accessible, so Id recommend searching for one of every a recycled shop. You may likewise need to audit a decent more significant level math book, for example, Multivariable Calculus by James Stewart. You ought to have at any rate an essential information on differential conditions, yet you don't need to be a specialist in them using any and all means. Checking on the initial barely any parts of a book, for example, Elementary Differential Equations and Boundary Value Problems by William E. Boyce and Richard C. DiPrima would be very helpful. You don't have to have any information on fractional differential conditions before entering graduate school, as they are commonly just utilized in extremely specific models. On the off chance that youre awkward with proofs, you might need to get The Art and Craft of Problem Solving by Paul Zeitz. The material in the book has practically nothing to do with financial aspects, however it will help you incredibly when chipping away at proofs. If that wasn't already enough a great deal of the issues in the book are shockingly fun. The more information you have of unadulterated science subjects, for example, Real Analysis and Topology, the better. I would suggest taking a shot at as quite a bit of Introduction to Analysis by Maxwell Rosenlicht as you can. The book costs under $10 US yet it is extremely valuable. There are different investigation books that are marginally better, however you can't beat the cost. You may likewise need to take a gander at the Schaums Outlines - Topology and Schaums Outlines - Real Analysis. Theyre additionally very reasonable and have many valuable issues. Complex investigation, while a significant fascinating subject, will be of little use to an alumni understudy in financial aspects, so you need not stress over it. Progressed Mathematical Economics that would be Helpful to Know The more genuine examination you know, the better you will do. You might need to see one of the more sanctioned messages, for example, The Elements of Real Analysis by Robert G. Bartle. You may likewise need to take a gander at the book I suggest in the following section. What Advanced Mathematical Economics Book Youll Use When You Get There At the

The Relationship Between Robinson Crusoe and Friday (Review) Essay Example

The Relationship Between Robinson Crusoe and Friday (Review) Essay Name: David Wang Student No: 0919112022 Class : B Date : Oct 28th,2011 Submitted to: Miss Li Lin The connection between Robinson Crusoe and Friday The connection between Robinson Crusoe and Friday has been inspected excitedly yet differently by various pundits, particularly as of late. Some state their relationship surely is by all accounts like siblings, who experience good and bad together; Some other remark that Crusoe and Friday have a comparative relationship to that of a dad and child. Notwithstanding of all that’s been referenced above, I have been given, the same number of others have been given, the feeling that Crusoe is the Master and that Friday is simply the hireling who is to serve his Master for whatever length of time that he lives. This mater-hireling viewpoint of relationship is expressed again and again in the novel, for instance, I [Crusoe] made him realize his Name ought to be Friday †¦ I in like manner instructed him to state Master, and afterward let him know, that should have been my Name Friday, who is just a worker, is never told about Crusoe’s genuine name, which shows a specific order framework, I. e. Crusoe is the ace and generally he is â€Å"higher† than Friday, who energetically serves Crusoe. During that period, slaves were named by their provincial experts and this image is painted out well in the novel when Crusoe names Friday â€Å"Friday†, without thinking about what his genuine name may be. We will compose a custom exposition test on The Relationship Between Robinson Crusoe and Friday (Review) explicitly for you for just $16.38 $13.9/page Request now We will compose a custom article test on The Relationship Between Robinson Crusoe and Friday (Review) explicitly for you FOR ONLY $16.38 $13.9/page Recruit Writer We will compose a custom exposition test on The Relationship Between Robinson Crusoe and Friday (Review) explicitly for you FOR ONLY $16.38 $13.9/page Recruit Writer Friday, notwithstanding to this, takes this relationship well, however it’s just, amusingly, an ace worker one and he really invites and grasps it in a great grateful way and presentations this warmth to the relationship so well that Crusoe accepts it as an accommodation to bondage as it is described â€Å" he bowed down once more, kissed the Ground, and laid his Head upon the Ground, and taking me by the Foot, set my Foot upon his Head; this it appears was in token of pledges to be my Slave always; this half of the sentence delivers a solid sign of Friday respecting â€Å"eternal slavery†, yet the â€Å"external loyalty† to Friday himself and Crusoe, for being safeguarded by his eternity ace, Crusoe. When Friday’s clear accommodation is shown, the initial scarcely any contemplations that strike a chord, as Crusoe’s first response, were not negative: I took him up, and made a big deal about him, and encouragd him everything I could †¦ he expre ssed a few Words to me, and however I was unable to get them, yet I thought they were lovely to hear However, how Crusoe responded might be because of his only needing to have another human buddy with him and to alleviate him of the numerous years in isolation: for they were the main sound of a Mans Voice, that I had heard, my own excepted, for over Twenty Five Years. After Crusoe ensures that the various savages are dead, encourages Friday: I conveyed him not to my Castle, however very away to my Cave, on the farther Part of the Island He dreaded definitely of being assaulted during the night he was dozing quarters from Friday: I made somewhat Tent for him in the empty Place between my two Fortifications †¦ I banished it up in the Night, taking in my Ladders as well, so Friday could no chance come at me in within my deepest Wall, without making such a great amount of Noise in getting over, that it should needs arouse me It is amazingly effectively observable that Crusoe doesn' t completely confide in Friday, having a closeness to the circumstance with the applying of a firearm. From the start, Cursoe sway Friday to accept that the weapon is â€Å"some brilliant Fund of Death and Destruction†; this brings Friday acting mindfully around the firearm: As for the Gun itself, he would not really as contact it for a few Days after; however would address it, and converse with it, †¦ which, as I a short time later learnt of him, was to want it not to kill him. This shows how â€Å"fully† (somewhat) the ace trusts his reliable worker, which frequently brings about any ace hireling relationship. Be that as it may, in any case, there is a distinction in this relationship where Cruse regularly gives positive remarks about Friday while the opposite is all over the place: an attractive Fellow, totally all around made; with straight solid Limbs †¦ tall and all around formed †¦ He had an awesome Countenance, not a furious and sullen Aspect; yet appeared to have something masculine in his Face. To its readers’ shock, Crusoe continues discussing Friday, yet such that endeavors to persuade the peruser that Friday isn't what he is thought of, not a normal dark individual at that point. A lion's share of the dark populace is claimed for all time and treated unfavorably by their European experts. South African at that point were viewed as though they were soil or an animal varieties lower than creatures. Cursoe attempts to carry individuals to accept that Friday isn't from that dark populace and is along these lines attempting to give a lift to Friday’s level in the progressive system of individuals. he had all the Sweetness and Softness of an European †¦ His Hair was long and dark, not curld like Wool †¦ The Color of his Skin was not exactly dark, however brownish; but then not of an appalling yellow sick brownish, as the Brazilians, and Virginians, and different Natives of America are; yet of a splendid sort of a dun olive Color †¦ his Nose little, not level like the Negroes †¦ Teeth very much set, and white as Ivory. All the confirmations that have been experienced above are what I have picked from pages 203 to 213; through every one of these pages, Crusoe and Friday manufacture their relationship with one another, supporting my view that Crusoe and Friday have a relationship where the ace worries about the main hireling he has while somewhat overwhelming the worker simultaneously.

Essay --

Kentucky v. Lord, 563 U.S. _____ (2011) Realities: Various cops set up a sting in which there were to be purchase of rocks outside a high rise in Lexington, Kentucky. Covert Officer Gibbons watched the arrangement from a covert vehicle in a parking area not far the from the deal region. After the arrangement occurred, Office Gibbons radioed a few other cops. He educated them to surround the suspects. He exhorted the officials to â€Å"hurry and get there† in light of the fact that the suspect was advancing towards the enclosed patio of a high rise. Officials showed up at the parking garage, leaving their vehicles and hurry to the enclosed patio. When they enter the enclosed patio they hear an entryway close and can distinguish a solid smell of cannabis. Toward the finish of the enclosed patio are two condos, one situated on the left, and one situated on the right. The officials were uncertain of which condo the suspect entered. Official Gibbons prompted the officials over the radio that the suspect had ran into the loft on the right, yet the officials didn’t hear this message since they were not at their vehicles. Because of the smell of maryjane originating from the loft on the left, the officials approach that condo. The officials hit against the entryway of the loft and declared themselves. They could hear individuals moving inside, and it seemed like things were being moved around inside the condo. In light of what they heard, officials expected that medication related proof was being wrecked. The officials at that point declared that they were going to enter the condo. One of the police officers kicked the entryway in, and different officials entered the loft. Officials found three people inside the condo: Hollis ... ... further held that this lead was totally predictable with the Fourth Amendment, and it was apparent that there was no other proof that may show that the officials either disregarded the Fourth Amendment or took steps to do as such. The Court presumed that Officer Cobb’s articulations were made after the exigency emerged, in this way it can't have made the exigency. End: The Court finished up its holding by finding that the â€Å"exigent conditions rule† applies in specific situations where the cop or officials don't â€Å"create the exigency,† yet rather, by taking part in or taking steps to participate in lead that disregards the Fourth Amendment. The Court additionally contemplated that in light of the fact that the officials for this situation didn't abuse or take steps to damage the suspects’ Fourth Amendment rights preceding the exigency, the exigency legitimized the warrantless pursuit of the loft.

Describes The Different Types Of Levels Used In Surveying - 825 Words

Describes The Different Types Of Levels Used In Surveying (Essay Sample) Content: Types of level 1 Dumpy level 2 Tilting 3 Automatic level 4 Digital auto levelDumpy levelThese are more basic levels often used in construction work. The telescope is rigidly attached to a single bubble and the assembly is adjusted either by means of a screwed ball-joint or by foot screws which are adjusted first in one direction then at 90.Tilting levelEquipped with circular spirit level for rough leveling which telescope is pointed to the rod. The telescope is precisely leveled by tilting screw which raise or lower eyepiece end of telescope until tube level is leveled. Tube level is viewed through separate eyepiece lens or telescopes its self. With 3 screws leveling the base and screws can also change elevation of line of sight.Automatic levelEmploys gravity referenced prism or mirror compensator to automatically orient the line of sight (line of collimation). The instrument is quickly leveled using circular spirit level. A compensator maintains horizontal LOS even i f telescope is slightly titled using 3 or 4 screws leveling the base 2 and 3 Screws can change elevation of line of sightDigital auto levelUses electronic image processing for determining height and distance. Electronic mode with rod face graduated in bar code Compare image with the whole rod image. Auto determination of height dist and recordedAdjustmentTo check the accuracy of a carpenter's type level, a perfectly horizontal surface is not needed. The level is placed on a flat and roughly level surface and the reading on the bubble tube is noted. This reading indicates to what extent the surface is parallel to the horizontal plane, according to the level, which at this stage is of unknown accuracy. The spirit level is then rotated through 180 degrees in the horizontal plane, and another reading is noted. If the level is accurate,it will indicate the same orientation with respect to the horizontal plane. A difference implies that the level is inaccurate.Adjustment of the spirit le vel is performed by successively rotating the level and moving the bubble tube within its housing to take up roughly half of the discrepancy, until the magnitude of the reading remains constant when the level is flipped.A similar procedure is applied to more sophisticated instruments such as a surveyor's level or a theodolite and is a matter of course each time the instrument is set up. In this latter case, the plane of rotation of the instrument is leveled, along with the spirit level. This is done in two horizontal perpendicular directions.Leveling proceduresA typical procedure is to set up the instrument within 100 meters (110 yards) of a point of known or assumed elevation. A rod or staff is held vertical on that point and the instrument is used manually or automatically to read the rod scale. This gives the height of the instrument above the starting (back sight) point and allows the height of the instrument (H.I.) above the datum to be computed.The rod is then held on an unkno wn point and a reading is taken in the same manner, allowing the elevation of the new (foresight) point to be computed. The procedure is repeated until the destination point is reached. It is usual practice to ...

Essential Skills Of An Opera Singer - Free Essay Example

Sample details Pages: 18 Words: 5418 Downloads: 6 Date added: 2017/06/26 Category Statistics Essay Did you like this example? In this dissertation emphasis will be placed on the marriage of three concepts namely: good voice (singing technique), musicality and acting for opera (building the character) in the training of a successful opera singer hereafter referred to as the singer-actor. The purpose of the study was to explore and describe the essential skills that needed to be acquired by the modern opera singer. The rationale therefore, is to provide guidelines for the minimum requirements for the training of the opera singer as singer-actor. Taking into consideration the demands on opera singers when taking part in an opera, the study was guided by the following question: Don’t waste time! Our writers will create an original "Essential Skills Of An Opera Singer" essay for you Create order How does the knowledge of good voice (a sound singing technique), musicality and building a character role benefit the opera singerà ¢Ã¢â€š ¬Ã¢â€ž ¢s performance? Evolving from the main research question, the following sub questions were formulated: What is a à ¢Ã¢â€š ¬Ã…“good voiceà ¢Ã¢â€š ¬? within classical voice training methods? How can musicality contribute to an opera singerà ¢Ã¢â€š ¬Ã¢â€ž ¢s performance? What are the demands to build a character role? General and specific aims: The general aim of this study was to determine how the knowledge of a good voice, musicality and building a character role, benefit the opera singerà ¢Ã¢â€š ¬Ã¢â€ž ¢s performance. Specific aims: The specific aims of this study are: to define a good voice To define musicality to determine how building a character role contribute to an opera singerà ¢Ã¢â€š ¬Ã¢â€ž ¢s performance. Due to the limited nature of this study, only a literature study will be done. As an extension of this study, the researcher would follow an interpretivist paradigm with a qualitative approach which strives to comprehend the important skills an opera singer should have according to contemporary South African opera singers and their view of the importance of acting ability for successful opera. The study will be conceptualised in terms of and based on the following frameworks: The voice Musicality Acting ability Relationship between music and text For opera to retain its artistic relevance to, and impact on, the fabric of arts and culture, it can be argued that there are three fundamental elements to the performance of opera which need to be addressed, and which require academic input (herformulering), discipline regarding musicality as well as focussed tuition and practise (sweeping statement. Wie se so?). In a world of ever-increasing media coverage of artistic and musical artists and events, together with an ever-increasing sophistication of a wider audience, it is becoming increasingly challenging for the artist, and in particular, the opera singer, to be successful in his career. Key to this challenge is that the opera singer is left with no choice other than to develop skills beyond the purely technical expertise. It is imperative that, in order to be extraordinary and thereby successful, the opera singer has to master three co-functioning disciplines, namely the good voice, musicianship and acting ability (sit bronne in). Singers tend to take acting classes separate from their vocal training in order to improve their acting skills. However, they mostly discover that taking classes in spoken drama and dialogue helps up to a certain point, but when going back to singing opera, the acting strategies learnt in the drama class do not always migrate to the performance of the aria (cf. Bean: 2007:167). This lack of transition is a result of the unique relationship between the music and the stage character in opera, which is not taken into account in the training of purely spoken (non-musical) drama. Thus, the one aspect that separates the acting of a spoken drama from that of opera is the music that is performed by instruments and the human voice. (Bron) (Prof. Jak: kommentaar is dat dit self evident is, of vroeÃÆ' «r genoem moet word). The argument specific to this dissertation is that the preparation and development of the opera singer (or singer-actor) has to facilitate three equally important, inter-linked and overlapping platforms of the Good Voice (singing technique), the discipline of musicianship and The Ability to Act (building the character). ( dink dit is aan die begin gesÃÆ' ª) In order to deliver a masterful opera performance, the singer actor needs to depict a character successfully. The opera singer needs to be a singer-actor who has mastered the following three pillars (Good Voice, Musicianship and Acting Ability) of the craft and art of Opera Performance. Each of these pillars deserves equal attention with particular reference to the input, mentoring/development and training curriculum of the opera singer (Bron) Further to the intention of the dissertation, it will be important that there are appropriate and comprehensive definitions of these three equally important elements that are based on the relevant literature and which build on the existing body of knowledge in this field. Specifically, this study will integrate the definitions of à ¢Ã¢â€š ¬Ã…“A Good Voiceà ¢Ã¢â€š ¬?, à ¢Ã¢â€š ¬Ã…“Musicianshipà ¢Ã¢â€š ¬? and à ¢Ã¢â€š ¬Ã…“Acting Abilityà ¢Ã¢â€š ¬? in terms applicable to the Singer-Actorà ¢Ã¢â€š ¬Ã¢â€ž ¢s optimal performance of Opera. Furthermore, in this dissertation emphasis will be placed on singing techniques, the elements of musicianship, and various relevant acting strategies in the training of a successful opera singer. This dissertation will also include the identification of relevant areas of scholarly attention and future academic research that will add to the existing body of knowledge in this arena. An in-depth literature study of relevant and contemporary sources on these topics have been done to guide the research. Method of research The following methods of research were used to answer the research questions: Consulting of the following databases: JSTOR, Google Scholar, Periodical archive online and IIMP; Literature study Interpretation of information and conclusions A study of Largo al factotum from Puccinià ¢Ã¢â€š ¬Ã¢â€ž ¢s Il Barbiere di Seviglia on the basis of the score and recordings, in order to ensure a common understanding of how the study could apply to the aria Before the conceptualized terms will be discussed, a concept clarification of the relevant issues at hand, will be provided. 1.1 Concept clarification The Good Voice / The self-amplified singing voice The à ¢Ã¢â€š ¬Ã…“good voiceà ¢Ã¢â€š ¬? can be defined as the ability of the opera singer to project the voice in a way that ità ¢Ã¢â€š ¬Ã¢â€ž ¢s heard over and above the full orchestra accompanying the singers. This view correlates with the description of Gilfrey (2007:1) who describes the voice as a à ¢Ã¢â€š ¬Ã…“classicalà ¢Ã¢â€š ¬? technique, a manner of singing that projects the voice over a large orchestra in a large theatreà ¢Ã¢â€š ¬?. Four elements are essential to produce a sound, namely a vibrating object, a power source to make the object vibrate, a medium through which the vibrations are transmitted and apparatus to receive the vibrations (McKinney,1999:20). The à ¢Ã¢â€š ¬Ã…“self-amplified singing voiceà ¢Ã¢â€š ¬? as described by Gilfrey (2007:1) is the single most important element of opera; the one that distinguishes opera not only from spoken drama, but also from rock and pop music, from jazz and from musical theatre (as it is performed today). Optimal Acoustic Output Acoustic output refers to the optimal projection of the voice to enhance the correct and optimal usage of the voice as an instrument. According to Titze (2002: 367 376) mean glottal airflow (or, alternatively, glottal resistance) has been a target for optimising vocal output power in voice therapy and singing training. Glottal airflow refers to the space between the vocal cords (the fleshly parts of the air passage inside the throat) which produce the sound of the voice by fast or slow moments, in which this space is repeatedly opened and closed (Longman, 1980:484). Generator / Breath Management / Breath Breathing is a natural process which begins at birth an ends with death. This is a natural process for which no training is acquired. The rate of breathing is governed by the bodyà ¢Ã¢â€š ¬Ã¢â€ž ¢s need for oxygen and needs no conscious controls. The essential difference between breathing to live and breathing to sing, lies in the amount of conscious control exerted (McKinney, 1994: 46). In other words, the breathing process is a spontaneous event for the normal person, but a skill that needs to be mastered by the opera singer to optimise breath control and support for the voice. Vibrator The word à ¢Ã¢â€š ¬Ã…“vibrationà ¢Ã¢â€š ¬? of the voice refers to à ¢Ã¢â€š ¬Ã…“The function of the vibrator is to set the column of still air in the throat and also that in the windpipe à ¢Ã¢â€š ¬Ã¢â‚¬Å" in vibrationà ¢Ã¢â€š ¬?. The vibratory element of the larynx consists of a highly skilful compromise on the part of nature which enable the opera singer to phonate without interfering with the breathing capacity (Kelsey, 1950: 66). This vibration is a function of the larynx; a device similar to the diaphragm of a sound-system speaker, is the anatomical device through which the sound is created while simultaneously allowing the singer to continue breathing through the same gap (or slit) by which the airflow is controlled. This control is the output of extensive skill learning, disciplined practise and deliberate conscious control (Kelsey, 1950: 66-67). Structure and Function à ¢Ã¢â€š ¬Ã¢â‚¬Å" Resonator / Supraglottic Activity The word resonator refers to an apparatus for increasing the resonance of sound (Longman, 1980:942). For the purpose of this study, the word à ¢Ã¢â€š ¬Ã…“resonanceà ¢Ã¢â€š ¬? can be defined as secondary vibrations produced by sound waves from another vibrating body (Lessac, 1997:13). He also distinguishes between two types of resonance, namely direct or enforsed resonance and indirect or sympathetic resonance. Direct resonance occurs when a vibrating body is placed in direct physical contact with another substance. For the opera singer direct resonance could be the sound resonating with the outer surfaces of your teeth. Indirect resonance occurs when the sound waves of a vibrating body set up vibrations in a substance some distance away. Sympathetic resonance occurs as the vocal sound waves, travelling through air space from the vocal folds, make contact with the hard pallet and then with the nasal bone (Lessac, 1997:13). The ability to resonate can therefore be described as the amplifying of the human voice. This amplifying can be divided into three sections, including the air contained in the lungs and windpipe, the air contained in the throat and, that contained in the suprapalatal cavity. Each of these can be seen an air-conditioner. Classical Technique (sit nog iets in of haal uit, PL) à ¢Ã¢â€š ¬Ã…“In popular usage, art or à ¢Ã¢â€š ¬Ã‹Å"seriousà ¢Ã¢â€š ¬Ã¢â€ž ¢ music as opposed à ¢Ã¢â€š ¬Ã‹Å"popularà ¢Ã¢â€š ¬Ã¢â€ž ¢ musicà ¢Ã¢â€š ¬? The Harvard Concise Dictionary of Music and Musicians. CHAPTER 2: The Good Voice in Classical Singing Before the good voice can be discussed, the anatomy of voice production needs to be clarified in short. Lessac (1997:14) defines the term à ¢Ã¢â€š ¬Ã…“voice boxà ¢Ã¢â€š ¬? of à ¢Ã¢â€š ¬Ã…“human sound boxà ¢Ã¢â€š ¬? as the cavity or enclosure where the tone is strengthened, amplified and enriched by resonance and wave reflection. According to Lessac, the voice box comprise two areas: a major adjustable area right above the larynx and the oral cavity and nondadjastable area in the pharynx, the nose, the forehead and adjacent structures. This soundbox can be describe as the singing meganism of which all the parts interdependent of each other, eah of which plays a crucial role in producing the good voice. The à ¢Ã¢â€š ¬Ã…“good voiceà ¢Ã¢â€š ¬? as defined in par 1.1 takes years of concentrated training. This focus on singing technique is the primary focus of most singersà ¢Ã¢â€š ¬Ã¢â€ž ¢ studiesà ¢Ã¢â€š ¬? (Gilfrey, 2007:1). A whole voice approach is beneficial for both singer and actor; however actor training programs donà ¢Ã¢â€š ¬Ã¢â€ž ¢t include singing, and vice versa. Acting is becoming increasingly important for the opera singer, but is seldom supported by the prerequisites of theatre voice and movement (Melton Tom, 2003:135). SÃÆ' ª nog iets oor hoekom training belangrik is. Singing is both a science and an art. Most teachers have at least some appreciation for a scientific singing method and those who donà ¢Ã¢â€š ¬Ã¢â€ž ¢t often claim to have discovered some long-lost piece of wisdom. This à ¢Ã¢â€š ¬Ã…“wisdomà ¢Ã¢â€š ¬? is generally already incorporated in the teachings of a well-trained singer. There are some fads that come and go but a singer with good technique and access to his or her emotions will please any audience and have a much broader career with greater longevity (Brown, 2004: 97-104). Technique is central to singing opera, but singing is also an art form, and no art form can be realised by the use of technique alone. Merging voice technique, musicality and emotion through competent acting skill is something that must be taught from the very beginning of the Opera Singerà ¢Ã¢â€š ¬Ã¢â€ž ¢s development of his/her career. This is because, when occupied in the emotion of the moment, the good voice will acquire nuances that are quintessentially important to conveying the emotional elements of the opera and will thus elevate the singer to a higher level of performance and riveting engagement with the audience. Gebruik onderstaande as daar nog inligting daaroor is, anders voeg saam, PL Every aspect of the voice, used directly of indirectly affects the whole mechanism. For example alignment and breathing are integrally connected to the performerà ¢Ã¢â€š ¬Ã¢â€ž ¢s range, resonance and articulation. For this reason, some of the relevant aspects affecting the good voice, will be discussed below. 2.1 Vowel modification Vowel Modification and Primal Sound Christy (1961) means that an important criteria for good singing habits is the homogenic shaping of vowels, in other words, they should sound as if they fit together, the vowels must be consistent with each other. Many professional singers never master the art of even vocal production. This can be ascribed to vocal coaches not fully grasping the concept of vowel placement. When this concept is fully understood it is impossible for a singer to not produce vowels freely and comfortably. In the first volume Christy states that once a single vowel is mastered the singer must focus on uniting the remaining vowels in accordance with that of the first. He means that the different vowels should attain a similar sound without losing its distinctive character. à ¢Ã¢â€š ¬Ã…“ à ¢Ã¢â€š ¬Ã‚ ¦this is another way of saying vowels have to be equalized by having a common, fundamental tonal characteristic.à ¢Ã¢â€š ¬? The fundamental tone of the human voice is the à ¢Ã¢â€š ¬Ã…“huhà ¢Ã¢â€š ¬? sound. According to Christy this sound should be considered the basic reference to vowel placing because the à ¢Ã¢â€š ¬Ã…“uhà ¢Ã¢â€š ¬? sound is the most natural sound that can be produced, as the pharynx is relaxed and in its natural position. Oren C. Brown concurs with Christy, but describes the à ¢Ã¢â€š ¬Ã…“uhà ¢Ã¢â€š ¬? sound as the à ¢Ã¢â€š ¬Ã…“primal soundà ¢Ã¢â€š ¬?: à ¢Ã¢â€š ¬Ã…“Primal sounds are involuntary. They are the sounds you were born with. In Beijing , Basel or Boston, a babyà ¢Ã¢â€š ¬Ã¢â€ž ¢s cry at birth is his primal sound. In 1963, Peter F. Oswald mad a phonetic analysis of the babyà ¢Ã¢â€š ¬Ã¢â€ž ¢s cry. He labeled the initial sound as a schwa [Éâ„ ¢], (uh as in about), which linked the cry to a babyà ¢Ã¢â€š ¬Ã¢â€ž ¢s first word, à ¢Ã¢â€š ¬Ã…“mamaà ¢Ã¢â€š ¬? [mÉâ„ ¢mÉâ„ ¢]. à ¢Ã¢â€š ¬Ã…“Mamaà ¢Ã¢â€š ¬? is the first word spoken by babies throughout the whole world. In Korea the word is à ¢Ã¢â€š ¬Ã…“amaà ¢Ã¢â€š ¬?, with the vowel preceding the consonant.à ¢Ã¢â€š ¬? (Brown 1998) p. 1 The sound identified by both Brown and Christy can therefore be described as the primal- or natural relaxed sound. As practical advice Brown suggest testing the sound through a range of exploratory exercises: making the à ¢Ã¢â€š ¬Ã…“huhà ¢Ã¢â€š ¬? sound in a short repetitive sequence (as if laughing), or a long relaxed sustained à ¢Ã¢â€š ¬Ã…“huhà ¢Ã¢â€š ¬? (like a sigh). He also suggests sliding the à ¢Ã¢â€š ¬Ã…“huhà ¢Ã¢â€š ¬? up and down the vocal range noting that the sound becomes lighter in the higher range and darker in the lower range. He means that this is natural and advises the singer to note his or her voiceà ¢Ã¢â€š ¬Ã¢â€ž ¢s natural inclinations. Judith Litante also mentions in Natural Approach to Singing (p32) that the vowels used in Italian forms a basis for the study of vowels in singing. She believes that à ¢Ã¢â€š ¬Ã…“they are pureà ¢Ã¢â€š ¬?. The reason for this is that Italian vowels are a compact basis for both English and other non Latin based languages. In English one finds many diphthongs. She means that employing these à ¢Ã¢â€š ¬Ã…“pureà ¢Ã¢â€š ¬? vowels or primal sound, as previously mentioned would eliminate the distorted pronunciation of diphthongs; for example extending the last syllable when singing à ¢Ã¢â€š ¬Ã…“sayà ¢Ã¢â€š ¬?, it becomes à ¢Ã¢â€š ¬Ã…“sayeeà ¢Ã¢â€š ¬? or à ¢Ã¢â€š ¬Ã…“kindà ¢Ã¢â€š ¬? becomes à ¢Ã¢â€š ¬Ã…“kieendà ¢Ã¢â€š ¬?. When the vowels are aligned and the vocal structures are in a natural posision, these kinds of distortion is eradicated. 2.2 Breath management Breathing techniques need to be considered holistically and consciously controlled until it becomes an unconscious competence. Sufficient and natural supply of air is needed for voice production. A good posture is an essential part of breathing and should be developed to support the opera singer in his breath management (Brown, 2004:17). This view is supported by Mckinney (1994:46-64) who state that there is a direct and positive correlation between correct posture (diaphragm control, and muscular movements of the chest, back and abdomen) and effective breathing in singing. According to McKinney (1994:48) breathing has four stages, namely a breathing-in period (inhalation), a setting-up-controls period (suspension), a controlled-exhalation period (phonation) and a recovery period. These stages should be repeated till the opera singer has the ability to go through the stages unconsciously. This process can be compared to the person who learns to drive a motorcar and has to concentrate on each step till he gets the ability to perform all the steps automatically. For the opera singer this refers to preparing to breathe, preparing for the phrase, physically singing the phrase and recovering in order for the process to repeat. 2.3 The vibrator 2.4 The resonator 2.5 The articulator Classical Opera training and singing versus Singing pop or secular music The single most important element of opera, the one that distinguishes opera not only from spoken drama, but also from rock and pop music, from jazz and from musical theatre (as it is performed today), is the à ¢Ã¢â€š ¬Ã…“self-amplifiedà ¢Ã¢â€š ¬? singing voice. This is a voice produced with a à ¢Ã¢â€š ¬Ã…“classicalà ¢Ã¢â€š ¬? technique, a manner of singing that projects the voice over a large orchestra in a large theatre. The learning of the singing technique this voice requires, takes years of concentrated training. This focus on singing technique is the primary focus of most singersà ¢Ã¢â€š ¬Ã¢â€ž ¢ studies. CHAPTER 3: Musicianship How the Classical Singer Accesses Demonstrates Musicianship To acquire musicianship a high level of artistic interpretation of songs and knowledge of repertoire is required through years of training. One can not over emphasize the importance of musicianship. It is simply not suffice for a musician to have a musical ear, theoretical and musical knowledge, play an instrument or respond emotionally to music. The artist must be a musician i.e. a singer (Christy Vol 1: 7). According to Miller (Principles of singing p1) a singer can acquire musicianship through classes, studying an instrument (ex. Piano), performing in choirs or through private study and the self-exploration of music. Even though a singer that has exceptional vocal talent, he should receive professional music training and the participation in solo or choral ensembles especially in the first year of study. Many vocal teachers might disagree with this statementà ¢Ã¢â€š ¬Ã‚ ¦ A singer with a natural talent and an ear for music must be able to imitate sounds and pitches and not just h ear this internally, for example; in a singing lesson the student listens to the vocal teacher and then imitates the vocal sound of the teacher. The same principle applies with rhythm. A sound inner sense of rhythm will contribute to the holistic musicianship of the singer. Besides musicianship, there is also the interpretation of music. According to Christy (1961: Vol 2:110) à ¢Ã¢â€š ¬Ã…“Interpretation is the emotional and artistic portrayal; the summation of all music. According to Christy (1961:Vol2:110) à ¢Ã¢â€š ¬Ã…“Musicianship is the science of music and interpretation à ¢Ã¢â€š ¬?. A good singer should be familiar with all styles of music and song literature. The singer must be trained in a style and in the interpretation of songs in a particular style. A song has a style that must be established and followed through to the end. It is possible for a singer to become comfortable with a particular style that he can do well in, but he will not realise that what he steers clear of could be very valuable for his musical development. Therefore the teacher should analyse, guide and discuss the songs with the singer, in order to identify the accompanying details of expression. (Christy 1961:Vol2:110-111). The basis of musicianship include the abilities to read and interpret rhythms and intervals, playing the piano accompaniments, acquiring knowledge of the basics of theory and harmony, music and musicians in terms of vocal and instrumental style, schools and song literature. (Christy 1961:Vol1:7) According to Christy 1961:Vol:109, (quoting Curt Atler in the art of accompanying and coaching: 1965: 219) interpretation may be defined as the singerà ¢Ã¢â€š ¬Ã¢â€ž ¢s act of expressing and communicating meaning, mood and epic, a comedy, or just an expression set to music à ¢Ã¢â€š ¬Ã¢â‚¬Å" all in capsule form. To interpret music is to express or reproduce it intrinsically by the singer, in the score. Due to the limitations in music notation, it is the responsibility of the singer to interpret and express the fine distinction between tonal colour, tempo and intensity of the composerà ¢Ã¢â€š ¬Ã¢â€ž ¢s interpretation. The expression can be found in the text and in the setting. According to Christy 1961:Vol2:112, à ¢Ã¢â€š ¬Ã…“when the same song is sung by two sensitive artists, it is highly unlikely that the general style, tone, colour and mood will be markedly different; however, dynamics, tempo, word accentuation, and innumerable details often are.à ¢Ã¢â€š ¬? Thus, the keys mus t be studied by the singer in order to express and keep the interpretation on track. The two requirements for interpretation include the fidelity to the composerà ¢Ã¢â€š ¬Ã¢â€ž ¢s intent and that it must contain an essentially creative element of the interpreterà ¢Ã¢â€š ¬Ã¢â€ž ¢s own making, illuminating the subject with fresh light. (Christy 1961:Vol1:190). Furthermore, the expression must be honest, sincere, simple and direct, which means that nothing must be added or placed over the music that will distract attention from the work itself. Also, the singer must reproduce the music with insight, imagination and vitality in his own unique way à ¢Ã¢â€š ¬Ã¢â‚¬Å" it must not be copied from others. Interpretation has four main factors including appropriate and fervent mood or emotion, eloquent diction, adequate technique and a natural, sincere stage presence. (Christy 1961:Vol1:190). EMBELLISHMENTS Embellishments comprise of, but are not limited to the appoggiatura, acciaccatura, mordent, gruppetto or turn, trill and the portamento. These are techniques that are of vital importance in the interpretation of music. In the appoggiatura, the singer usually has to apply his own taste due to its indeterminate value. There are some accented notes in a melody that form the bass of the intervals since they lean on the next note to which they descend. The appoggiatura was used by singers long before it was written down, because of the enjoyable sound and is often absent in the score. (Shakespeare: 115). The acciaccatura and mordent is different from the appoggiatura as it is written with a stroke through the stem and tail. This does not have an affect on the value of the next note but it is sung much quicker. The acciaccatura is usually a small note where as the appoggiatura is written as a whole note. (Shakespeare: 115). The gruppetto or turn is a group of three or four notes. If the higher interval is a tone, the lower tone is a semitone and if both intervals are semitones it is known as a chromatic turn. (Shakespeare: 115). Sung in rapid alternation with the note of the scale above it, the trill is an embellishment that has a principle note that belongs to the harmony of the composition. A trill is usually finished with a turn. (Shakespeare: 115). The portamento carries the voice from one interval to the next, then passing lightly through the intervening tones. It also indicates a phrase and the Legato rendering of a passage. (Behnke: The technique of singing: 99) Legato Slur Intonation Colour in the voice timbre (emotion) Following the conductor Discuss the concept of DISCIPLINE Technical aspects According to Hayward (see 1994:205) style can be interpreted in many different ways. Interpretation can be defined as communicating understanding. Interpretation can best be expressed in a personà ¢Ã¢â€š ¬Ã¢â€ž ¢s own language according to James Nolan in his book Interpretation, Techniques and exercises. Expression and conveying of meaning, feeling and idea through sound can be defined as interpretation (Christy 1967:109). CHAPTER 4: Acting Within the South African context, this integration of The Good Voice, Musicianship and Acting is deficient. There are various reasons for this lack of attention given to the development of acting skills with singer-actors. One is that there are not many qualified tutors in South African institutions that combine the field of acting and musical performance. Another reason is the absence of appropriate development programs and relevant material in curriculums. As a result, there is less interest from students to pursue a career as a singer-actor. In support of this argument, Knobel and Steinert (2002:155) claim that the à ¢Ã¢â€š ¬Ã…“acting teacher should be just as important to you as your singing teacher and can be of great help to you throughout your singing career.à ¢Ã¢â€š ¬? Interestingly enough, contrary to this understanding are the arguments of authors such as Bean, Goldovsky and Balk, who posit that à ¢Ã¢â€š ¬Ã…“acting classes à ¢Ã¢â€š ¬Ã‚ ¦ are very often of little benefit to the singing actorà ¢Ã¢â€š ¬? Bean (2007:167). These two opposing views illustrate that there are no consensus among academics about the importance of acting skills (al dan nie) of the opera singer. This statement is underpinned by the neglect of some higher education institutions offering voice training, where little or no training in acting is provided. In the quotation below, Bandelj truly captures the spontaneous physiological, psychological and emotional reactions which authentic acting can bring about in the actorà ¢Ã¢â€š ¬Ã¢â€ž ¢s performance. à ¢Ã¢â€š ¬Ã…“When a singer acts and sings in a mechanical way, it often comes across as disjointed or in some cases ridiculous. It is the emotion that breathes life into the song and makes it relevant, connecting with the audience and transcending facial contortionsà ¢Ã¢â€š ¬? (Bandelj, 2003:393-394). To avoid that, an actor should utilise the all the involuntary muscle contractions that emotions evoke in the body, either by recalling their own past experiences or imagining themselves personally going through what the character is experiencing. This makes the whole action more believable. Gilfrey, Bonavia agrees that à ¢Ã¢â€š ¬Ã…“the ability to act, though considerably under-estimated, is not the only or the most necessary qualification for the operatic stage. Acting in opera is a comparatively modern accomplishmentà ¢Ã¢â€š ¬? (Bonavia, 1915:79). This observation, by Bonavia, pays homage to the deeply rooted tradition of well-respected opera singers being famous for their magnificence of voice; à ¢Ã¢â€š ¬Ã…“but of their skill in acting there is hardly any mention to be found anywhereà ¢Ã¢â€š ¬? (Bonavia, 1915:79). ( Dink hier aan enige ou opera wat opgevoer is en waar daar slegs aandag aan die sang gegee is) Ultimately, Bonavia contradicts (to some extent) the previous argument by identifying an exception. That is Chaliapin who, according to Bonavia, provides the audience with à ¢Ã¢â€š ¬Ã…“ever-changing shades of facial expression à ¢Ã¢â€š ¬Ã‚ ¦ the whole character left vividly impressed à ¢Ã¢â€š ¬Ã‚ ¦ Chaliapin is the ideal actorà ¢Ã¢â€š ¬? (Bonavia, 1915:80). In terms of the attempts made at acting within the Opera world, there is a history and tradition of operatic gesture and à ¢Ã¢â€š ¬Ã…“the surprising persistence of melodramatic effects and gestural overstatementà ¢Ã¢â€š ¬? (Smart, 2004:26). While this is certainly applicable to the Nineteenth Century, we need to be cognisant of how this tradition à ¢Ã¢â€š ¬Ã¢â‚¬Å" of gestural overstatement à ¢Ã¢â€š ¬Ã¢â‚¬Å" may be (erroneously) assumed to be the only à ¢Ã¢â€š ¬Ã…“actingà ¢Ã¢â€š ¬? required of the singer actor in the twenty-first Century. That is, even in the times of Verdi, à ¢Ã¢â€š ¬Ã…“the role of gesture à ¢Ã¢â€š ¬Ã‚ ¦ (grew) à ¢Ã¢â€š ¬Ã‚ ¦ as formal conventions loosenedà ¢Ã¢â€š ¬? (Smart, 2004:136). The appropriate question therefore is, to what extent have formal conventions loosened further, particularly in a world hallmarked by electronic media and social networking? As indicated in the introduction, Television and DVDà ¢Ã¢â€š ¬Ã¢â€ž ¢s, have provided unrestricted access to Opera to an ever-increasing sophisticated and demanding audience in the entertainment space. This view is further reinforced by the writing of RePass (1953:10-18) who states that à ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦(PL). Building the Character The creation of a character role by the singer-actor is the basis and starting-point of the combination of singing and acting. While it cannot be doubted that an excellent singing technique à ¢Ã¢â€š ¬Ã‚ ¦ (viz., The Good Voice and Musicianship) à ¢Ã¢â€š ¬Ã‚ ¦ is essential to the success of any opera singer, other skills required for a convincing performance, among them acting, are often given less attention by singers and their teachers (Gilfrey, 2007:1). Innate talent is not the sole factor as the ability of a singer-actor to create a character role is severely impacted by the cultural beliefs of what acting is and also how it is measured. When keeping this in mind it becomes evident that the creation of a character, especially in the case of singer-actors, are based on the teachings of Konstantin Stanislavsky better known as the method acting technique. The method acting technique is an approach that the Russian actor developed to whose approach stresses the internal preparation of actors (Bandelj, 2003:393). This focus differs from that of the other schools of acting namely The English School of Acting, The Bertold Brechtà ¢Ã¢â€š ¬Ã¢â€ž ¢s epic theatre and Japanese Noh Drama. The interaction experienced by the singer-actors on stage and the director with the constant feedback assures a more lifelike portrayal. The fundamental driver of method acting is the wish to reproduce reality. All (acted) behaviours and interactions need to be seen to be psychologically, emotionally and socially authentic and plausible, while concurrently acting as an integrating mechanism to the plot and to the other cast members. Drawing on his/her own experiences and observations the actor needs to appear spontaneous while using objects in both a symbolic (or metaphorical way) and a literal way (Bandelj, 2003:393). This, and the à ¢Ã¢â€š ¬Ã…“additional use of props to facilitate the portrayal of the situation, are all tied together by the passion of the actor and the pursuit of truth as art imitates life or indeed verisimilitudeà ¢Ã¢â€š ¬? (Bandelj, 2003:394). The quality of the voice has much more to do with the correct training and technique, rather than the singerà ¢Ã¢â€š ¬Ã¢â€ž ¢s natural endowment, especially later in life as the singer ages. *The W questions to build a character role (also mentioned in the PowerPoint) Who? What? Where? When? Why? And HOW? Contributing Elements to Building a Character Costumes Lighting Makeup Decor Lastly (though this last consideration is more often implied than stated), it demands an almost religious devotion on the part of an actor, based onà ¢Ã¢â€š ¬Ã‚ ¦ the power of truth in acting (Bandelj, 2003:393). Possible contributions of the study To illustrate that the acting training of an prospective opera singer is equally important as the voice training. The results of the study may also have an effect on the training of music students, specialising in singing at the North West University. The study may lead to the design and production of.. (brei uit) Owing to the lack of sufficient literature available on the topic this study may also lead to an increase in literature on the skills and requirements for the training of prospective opera singers Possible challenges The following possible challenges are predicted: The scientific field of research with regard to the topics of skills required for opera singers is very limited and the researcher has to rely on old sources of information. NWU vir goeie voice training, maar weens die feit dat hier nie à ¢Ã¢â€š ¬Ã‹Å"n dramadepartemente is nie, word hierdie belangrike aspek nie aangespreek nie. Min tyd vir praktiese toepassing in krusus omdat jy gedruk word om in onderwys te gaan. Nog uitbrei! Areas for Future Academic Focus and Research Is it that singing is simply another musical instrument in an orchestra dedicated to Opera; that is, similar to the lead violin but performing on stage? Perhaps this limited view has been influenced by music and opera schools through the preceding 200 years. If opera were not presented to an audience as theatre, would the issues of acting be seen only in the light of the performersà ¢Ã¢â€š ¬Ã¢â€ž ¢ technical skill? Is the music or voice the vehicle for the drama of the opera? The acting strategies used in opera acting can contemporary acting i.e. Stanislavsky and other Schools of acting, be used to build a model for opera acting? To discuss in depth how to train a Good voice and what the classical technique in different schools of teaching, i.e. German School and Italian Bel Canto School entails and to do a comparison. Concluding comments CHAPTER 5: Conclusion à ¢Ã¢â€š ¬Ã…“Opera singing is a multi-dimensional art form consisting of singing, acting, speaking and dancing. Before you start your studies, you have to be very aware that each of these facets of stage art is equally important. It is never enough to learn singing technique and hope that the rest will develop by itself. Knobel Steinert (2005: p21)à ¢Ã¢â€š ¬? à ¢Ã¢â€š ¬Ã…“From the first year onward, work on interpretation. A good singing technique is only the foundation for the profession. A successful opera singer must be a singing actor or actress. To be boring on stage is a deadly sin. Knobel Steinert (2005: p27)à ¢Ã¢â€š ¬?

The Aicpa Code Of Professional Conduct - 1268 Words

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Business ethics is a form of applied , and that knowethics or professional which analyse ethical principales and moral which means the ethical problem that arise in business environment. it is examining what is wrong and right. â€Å" Then doing the right thing, but the right thing is not as straightforward as explained

The Theme of Sight vs. Blindness in Oedipus free essay sample

The theme of sight vs. blindness is a very prevalent theme in Oedipus the King. The two most affected characters by this main theme are Oedipus, the king, and Tiresias, the blind seer. Oedipus is affected because while he is not literally blind, he is blinded by ambition to find the killer of Laius, and blind to what is happening around him. Tiresias, who is actually blind, is a prophet and understands what is happening around him. Oedipus does not understand what is happening around him, but can see, while Tiresias is the opposite. Oedipus, whose eyes are fully functional, does not see how corrupt the life he has been living is. Tiresias, a seer, tells him his destiny, and he fails to see that it is the truth. Tiresias also says, â€Å"You do not see the evil in which you live. † (25). Oedipus questions Tiresias and calls him a liar, â€Å"You have no power or truth. We will write a custom essay sample on The Theme of Sight vs. Blindness in Oedipus or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page You are blind, your ears and mind as well as eyes. † (25). Oedipus and all of the other characters in the play who can see with their eyes, are blind to their current circumstances and cannot see the truth. Tiresias, who is blind, but knows the truth, is the only person in the play who can figuratively â€Å"see. † When Tiresias gives Oedipus his prophecy, Oedipus is flabbergasted and ignores what Tiresias says, â€Å"Say what you like. It will all be meaningless. † (25). Oedipus accuses Tiresias of making up his prophecy, showing how blind to the circumstances he is, â€Å"Was it Creon, or you, that invented this story? † (26).