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Uzimajući u obzir činjenicu da se dvije godine zaredom obilježava 150. godina od rođenja i 110. godina od smrti jednog od naših najznačajnijih književnika - Antuna Gustava Matoša - u znanstvenim se istraživanjima učestalije pojavljuje tematika kojom se nastoje ostvariti tev. »nova čitanja«, koja valoriziraju i razmatraju njegovu djelatnost iz novog rakursa. Polazeći od navoda Antuna Gustava o »muzikalnoj kući« Matoševih, izrečenoga u žaru polemike, u ovome se radu istražuje značaj i pojavnost glazbe u obitelji Matoš. Dijakro-nijskim prikazom obiteljskoga stabla Matoševih prezentirat će se glazbena djelatnost pojedinih članova obitelji, bilo da su se glazbom bavili u profesionalnome ili amaterskom kontekstu, i to Antuna Gustava, njegova djeda Grgura, oca Augusta, sestre Danice, brata Leona i ostalih članova obitelji Matoš. Kao najznačajniji izvori pri tome koristili su se književna ostavština Antuna Gustava Matoša, relevantna znanstvena i stručna literatura te primarno arhivsko gradivo. [ABSTRACT FROM AUTHOR]

Vocal arts medicine provides care and prevention strategies for professional voice disorders in performing artists. The issue of correct "Fach" determination depending on the presence of a lyric or dramatic voice structure is of crucial importance for opera singers, as chronic overuse often leads to vocal fold damage. To avoid phonomicrosurgery or prevent a premature career end, our aim is to offer singers an improved, objective fach counseling using digital sound analyses and machine learning procedures. For this purpose, a large database of 2004 sound samples from professional opera singers was compiled. Building on this dataset, we employed a classic ensemble learning method, namely the Random Forest algorithm, to construct an efficient fach classifier. This model was trained to learn from features embedded within the sound samples, subsequently enabling voice classification as either lyric or dramatic. As a result, the developed system can decide with an accuracy of about 80% in most examined voice types whether a sound sample has a lyric or dramatic character. To advance diagnostic tools and health in vocal arts medicine and singing voice pedagogy, further machine learning methods will be applied to find the best and most efficient classification method based on artificial intelligence approaches. [ABSTRACT FROM AUTHOR]

The bass Julij Betetto is considered one of the most important Slovenian and Yugoslav musical performers of the twentieth century, also leaving a deep impression on the history of European operatic singing. In an artistic career spanning over half a century he appeared in more than three thousand operatic performances, interpreting 175 roles in 140 different operas. The article looks at Betetto’s artistic career and expands previous knowledge about his thirty-six-year-long collaboration with the Ljubljana Opera, emphasizing his pedagogical influence and importance for that institution.

The primary goal of the study was to evaluate the influence of cosmetic and functional rhinoplasty on quality of life and voice performance preservation in opera singers. This study was conducted in the ENT Department of Clarós Clinic and included 18 opera singers: 16 women (8 sopranos, 5 mezzos, 2 contralto, and 1 unclassified) and 2 men (1 tenor and 1 baritone). Patients underwent either cosmetic or functional rhinoplasty. We excluded patients with previous nasal surgery, allergic or vasomotor rhinitis, laryngeal pathology, nasal pathology except septal deviation, hormonal or psychiatric disorders, psychic lability, or younger than 18 years of age. We evaluated the fundamental frequency, jitter, shimmer, maximal phonation time, Voice Handicap Index-10, and subjective perception of the patient before and 6 months after surgery. Rhinoplasty was indicated for aesthetic reasons in 12 cases. Six patients also associated nasal obstruction due to septal deviation. The fundamental frequency presented no variation and jitter, shimmer and the maximal time phonation improved slightly. Voice Handicap Index-10 scores decreased after the intervention (5.3 vs 5) and the overall perception of the surgical intervention was considered positive both aesthetically and vocally. Singers evaluated long-term influence of rhinoplasty as positive. Over 88.8% admitted a beneficial effect on vocal emission and function while 11.1% perceived no change regarding their previous voice. [ABSTRACT FROM AUTHOR]

This article has two main goals. The first is to give a personal point of view regarding excellence through singing, referring the experience of the author as an opera singer, who sung in the opera company of Cluj Opera House at the 80's. It will be done a special reference to another artist of excellence, the mezzo soprano Lya Pop, who was a founder member of the first Romanian Opera House, the Cluj Opera House. The second goal is to honor this institution, the Romanian National Opera House Cluj-Napoca, that celebrates in 2020 its first century of existence. [ABSTRACT FROM AUTHOR]

This article is targeted at both students engaged in full-time study and those who guide them, who, through knowledge, professionalism, and discernment, assume responsibility to build successful careers together with those whom they guide. The voice, the frail tool that links spirit and matter, requires, beside native endowment, constant and persevering practice, under the careful guidance of a teacher, who has to create stages and doses of information so that at the end of the route covered, the student becomes an artist prepared to meet an impresario. [ABSTRACT FROM AUTHOR]

The article contains information about the repertoire of M. Cebotari, a brilliant representative of the Moldovan and German vocal schools in the first half of the 20th century. The author analyzes her performance style and the total combination of methods and technique. In her stage career of 18 years, she performed with equal success coloratura, lyric, dramatic soprano as well as mezzo-soprano parts. A distinctive feature of the diva`s art was a unique fusion of a wide linguistic and stylistic range: which includes the music from the 18th – 20th centures of Italian, German, French and Russian composers. M. Cebotari was also one of the first „universal” singers in the world, combining on the stage a commitment in achieving perfection of vocal technique together with exceptional acting and her spectacular appearance.

This article addresses both professional singers in the midst of their career and those who study the art of singing and prepare themselves for this path in life. I bring to the attention and awareness that a minor disorder of the phonatory apparatus, if ignored and not treated on time, can sometimes lead to irreversible damage. Therefore, I stress the importance of a phonatory physician and voice therapy prevention that should be maintained through the entire career of a professional singer, mentioning the main factors that lead to the occurrence of these disorders and the connection of healing through conscious breathing. [ABSTRACT FROM AUTHOR]

In this pilot study, 46 professional opera singers were surveyed, exploring their physical, emotional, financial and social wellbeing. While most of the participants in this study were American, the other participants included South Africans, Canadians and Germans. Of the 46 participants, 24 were female and 22 male. Professional singers provided pertinent advice to aspiring singers so that they could make informed decisions when considering a career as an opera singer. Data collected through both quantitative and qualitative methods indicated that pursuing a career as an opera singer is indeed viable. Most of the singers surveyed, however, did not only perform as their main career focus. Many of the participants also taught singing to supplement their income. Financially, the majority of this sample regarded themselves as comfortable. Physical and psychological ailments were minimal and the reported instances of ailments were treatable. [ABSTRACT FROM PUBLISHER]

In some descriptions from the first half of the nineteenth century, scientific categories are used syncretically to explain opera singers' talents, including their innate and acquired dispositions, and their effects on audiences. Phrenology sought to read on the surface of skulls the developments of cerebral zones that corresponded to various instincts, or to affective and intellectual faculties. According to the partisans of this "only true Science of the Human Mind," one could thus explain any aspect of human activity and life. Franz Joseph Gall's followers applied these theories to music and musicians, which constituted one of their privileged fields of observation, still largely unexplored by historians and philosophers of science. The singer united the qualities of the musician and actor, and stimulated abundant illustrative material--biographical and anecdotal, portraits, busts, and prints. Phrenologists thus fueled specific discursive models of observation and enunciation among early-nineteenth-century operatic audiences, which reflected and nourished the media doxa. A series of French and English texts highlight the phrenological and physiological "conditions" necessary to become an opera singer, and the combinations suited to a particular type of music. These sources contributed to the processes of operatic creation and reception, and to the forging of new interpretations of singers' public images, as both exceptional artists and socially normalized individuals. [ABSTRACT FROM AUTHOR]

Opera is often referred as a term of opera arts, less often it is considered as a term of opera singers or interpretation. In this paper discussed some aspects of opera with special emphasis on education for the profession of opera singer. The aim was to find out what the trends of singers' education are and what challenges the candidates face during their studies. A qualitative research approach with triangulation of data sources has been used. The study included 30 interviewees (opera singers, professors and experts of opera singing). The core technique of data collection was a semi-structured interview. In this way, the behaviour of opera singers within their professional and everyday environments was identified and explained. The results of research are showed that the formal education is not enough for becoming successful opera singers. [ABSTRACT FROM AUTHOR]