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Diction and dialect performance practice in the American Negro Spiritual and slave songs.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	Diction and dialect performance practice in the American Negro Spiritual and slave songs./
作者:	Seigrist, Mark Andrew.
面頁冊數:	1 online resource (109 pages)
附註:	Source: Dissertations Abstracts International, Volume: 58-03, Section: A.
Contained By:	Dissertations Abstracts International58-03A.
標題:	Music. -
電子資源:	click for full text (PQDT)
ISBN:	9798208904015

Diction and dialect performance practice in the American Negro Spiritual and slave songs.
Seigrist, Mark Andrew.

Diction and dialect performance practice in the American Negro Spiritual and slave songs. - 1 online resource (109 pages)

Source: Dissertations Abstracts International, Volume: 58-03, Section: A.

Thesis (D.M.A.)--The University of Texas at Austin, 1996.

Includes bibliographical references

The original diction and dialect are important, integral parts of the American Negro Spiritual. Any scholar or performer approaching the American Negro Spiritual will encounter original dialect. In the pursuit of knowledge, musical composition and/or performance of the Spiritual, an understanding of early black American diction and dialect is fundamental. Chapter one briefly describes West African musical traditions as an historical beginning for the music of the slaves of North America. Chapter two discusses three forms of West African and slave music; Cries and Calls, Worksongs and Call and Response. Chapter three addresses dialect and diction on broad parameters, setting the framework to further discuss Black diction and dialect. Chapter four involves a more detailed analysis of particular elements of Black diction and dialect. Chapter five holds specific guidelines for the pronunciation of original diction, regarding the American Negro Spiritual. Chapter six culminates the topical analysis of the American Negro Spiritual and contains numerous musical examples from various recordings showing common performance practice with different artists. Musical examples are taken from recordings Kathleen Battle, Jessye Norman, Marian Anderson, Barbara Conrad, Derek Lee Ragin, and Brian Stratton. Chapter seven analyzes the aspect of mask and symbolism with the American Negro Spiritual, beginning with the poem of Paul Laurence Dunbar, "We Wear the Mask that Grins and Lies." Chapter eight contains interviews conducted during the research of this project. Those individuals interviewed include: Tenor and Professor of Voice William Brown, Tenor, Director of the Harlem Spiritual Ensemble and Director of the American Negro Research Center Francois Clemmons, Singer and Professor of Voice Bernadine Oliphant, Scholar Boyd Gibson, Tenor Brian Stratton, Soprano and Professor of Voice Helen Dilworth, Scholar and Professor Roland Carter, Professional Vocal Coach Sylvia Olden Lee, Mezzo Soprano Barbara Conrad, Singer and Retired School Teacher Tempy Hoskins, and Linguist Walt Wolfram. The conclusion, appendices, bibliography and vita culminate this document.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798208904015Subjects--Topical Terms:

649088
Music.
Subjects--Index Terms:

spiritualsIndex Terms--Genre/Form:

554714
Electronic books.

Diction and dialect performance practice in the American Negro Spiritual and slave songs.
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520 $a The original diction and dialect are important, integral parts of the American Negro Spiritual. Any scholar or performer approaching the American Negro Spiritual will encounter original dialect. In the pursuit of knowledge, musical composition and/or performance of the Spiritual, an understanding of early black American diction and dialect is fundamental. Chapter one briefly describes West African musical traditions as an historical beginning for the music of the slaves of North America. Chapter two discusses three forms of West African and slave music; Cries and Calls, Worksongs and Call and Response. Chapter three addresses dialect and diction on broad parameters, setting the framework to further discuss Black diction and dialect. Chapter four involves a more detailed analysis of particular elements of Black diction and dialect. Chapter five holds specific guidelines for the pronunciation of original diction, regarding the American Negro Spiritual. Chapter six culminates the topical analysis of the American Negro Spiritual and contains numerous musical examples from various recordings showing common performance practice with different artists. Musical examples are taken from recordings Kathleen Battle, Jessye Norman, Marian Anderson, Barbara Conrad, Derek Lee Ragin, and Brian Stratton. Chapter seven analyzes the aspect of mask and symbolism with the American Negro Spiritual, beginning with the poem of Paul Laurence Dunbar, "We Wear the Mask that Grins and Lies." Chapter eight contains interviews conducted during the research of this project. Those individuals interviewed include: Tenor and Professor of Voice William Brown, Tenor, Director of the Harlem Spiritual Ensemble and Director of the American Negro Research Center Francois Clemmons, Singer and Professor of Voice Bernadine Oliphant, Scholar Boyd Gibson, Tenor Brian Stratton, Soprano and Professor of Voice Helen Dilworth, Scholar and Professor Roland Carter, Professional Vocal Coach Sylvia Olden Lee, Mezzo Soprano Barbara Conrad, Singer and Retired School Teacher Tempy Hoskins, and Linguist Walt Wolfram. The conclusion, appendices, bibliography and vita culminate this document.
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