{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/70843"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/70843","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Emphasizing the Articulatory and Timbral Aspects of Vocal Production in Vocal Composition","abstract":"An especially heightened interest in emphasizing articulatory and timbral phenomena in vocal composition began about 1950. The first part of this paper examines the interest shown by contemporary composers, teachers of singing, and performers in articulatory and timbral phenomena, and discusses the impact of these interests on performance and composition. This examination includes brief descriptions of about one hundred compositions (often experimental) categorized according to their use of text fragmentation, phonetic alteration, phones as timbral material and text-setting controls, articulatory action as a compositional focus or a gestural device, and speech-mode characteristics.","abstract_html":"An especially heightened interest in emphasizing articulatory and timbral phenomena in vocal composition began about 1950. The first part of this paper examines the interest shown by contemporary composers, teachers of singing, and performers in articulatory and timbral phenomena, and discusses the impact of these interests on performance and composition. This examination includes brief descriptions of about one hundred compositions (often experimental) categorized according to their use of text fragmentation, phonetic alteration, phones as timbral material and text-setting controls, articulatory action as a compositional focus or a gestural device, and speech-mode characteristics.","abstract_has_math":false,"creators":["Clark, Elizabeth Marie"],"institution":"University of Illinois at Urbana-Champaign","degree_name":"D.M.A.","degree_level":"Dissertation","degree_discipline":"Music","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2014,"date_issued":"2014-12-16T04:12:58Z","date_published":"2014-12-16T04:12:58Z","updated_at":"2026-07-22T22:26:03Z","subjects":["Music"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[{"key":"dc:identifier","label":"Identifier","values":["(UMI)AAI8600153"],"render_values":[{"text":"(UMI)AAI8600153","href":null,"code":true}]}]},"links":{"outbound_url":"http://hdl.handle.net/2142/70843","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Clark, Elizabeth Marie"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2014-12-16T04:12:58Z","10000-01-01","1985"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Music"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["D.M.A."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Music"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/70843","(UMI)AAI8600153"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["An especially heightened interest in emphasizing articulatory and timbral phenomena in vocal composition began about 1950. The first part of this paper examines the interest shown by contemporary composers, teachers of singing, and performers in articulatory and timbral phenomena, and discusses the impact of these interests on performance and composition. This examination includes brief descriptions of about one hundred compositions (often experimental) categorized according to their use of text fragmentation, phonetic alteration, phones as timbral material and text-setting controls, articulatory action as a compositional focus or a gestural device, and speech-mode characteristics.","The second part of this paper discusses the application of vocal production knowledge to composition. Vocal writing techniques which emphasize articulatory/timbral phenomena are devised and described according to various compositional procedures; namely, choosing and setting vocal material, transforming and developing vocal material, working within vocal performance limitations and constraints, notating vocal material, and discovering new vocal materials and relationships. A detailed illustration of a song by the author in which these techniques were used concludes the paper.","Made available in DSpace on 2014-12-16T04:12:58Z (GMT). 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The first part of this paper examines the interest shown by contemporary composers, teachers of singing, and performers in articulatory and timbral phenomena, and discusses the impact of these interests on performance and composition. This examination includes brief descriptions of about one hundred compositions (often experimental) categorized according to their use of text fragmentation, phonetic alteration, phones as timbral material and text-setting controls, articulatory action as a compositional focus or a gestural device, and speech-mode characteristics.","The second part of this paper discusses the application of vocal production knowledge to composition. Vocal writing techniques which emphasize articulatory/timbral phenomena are devised and described according to various compositional procedures; namely, choosing and setting vocal material, transforming and developing vocal material, working within vocal performance limitations and constraints, notating vocal material, and discovering new vocal materials and relationships. A detailed illustration of a song by the author in which these techniques were used concludes the paper.","Made available in DSpace on 2014-12-16T04:12:58Z (GMT). No. of bitstreams: 1 8600153.pdf: 3491503 bytes, checksum: 215994d041483a6e22ada69eca692bc2 (MD5) Previous issue date: 1985","Embargo set by: Seth Robbins for item 71009 Lift date: Forever Reason: Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","Restricted to the U of I community idenfinitely during batch ingest of legacy ETDs","U of I Only","96 p.","Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 1985."],"dc:identifier":["http://hdl.handle.net/2142/70843","(UMI)AAI8600153"],"dc:subject":["Music"],"dc:title":["Emphasizing the Articulatory and Timbral Aspects of Vocal Production in Vocal Composition"],"dc:type":["text"],"thesis:degree_discipline":["Music"],"thesis:degree_level":["Dissertation"],"thesis:degree_name":["D.M.A."],"thesis:institution_name":["University of Illinois at Urbana-Champaign"]},"updated_at":"2026-07-22T22:26:03Z"}