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An assessment of the standard voice instructor or performer collection of printed music would likely reveal numerous operatic repertoire volumes in anthology format appropriated to the primary four voice categories. However, thorough investigation divulges little in comparable printed material accessible to the countertenor. This scarcity of systemized collections is especially evident in the territory of comprehensive countertenor operatic repertoire. This project fills that present void by creating a compilation of sixteen countertenor arias drawn from various styles and historical periods for suggested application in studio instruction and performance. Perhaps, a more meaningful project intent is the presentation of a beneficial graded literature continuum resource for the studio teacher who instructs a countertenor in various stages of vocal development. For this purpose, each of the 16 arias is categorized into four difficulty levels based on considerations of range, tessitura, coloratura demands, rhythm, sustained phrase length, tonality, melodic considerations/overall musical difficulty, accompaniment support, and ornamentation requirements. The project also addresses common issues of pedagogy and ornamentation for voice teacher consideration when instructing a developing countertenor.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This master thesis integrates the work of the Floema research group - Study Center for aesthetics and education - and is linked to the research line Education and Arts (LP4) Education Program Post Graduate (PPGE) of the Federal University of Santa Maria (UFSM). The research deals with the subject countertenor s vocal formation, based on the discussion of natural and unnatural use of falsetto and countertenor voice, which involves the problem of working with this vocal classification in the training of singers, especially in courses degree in Music in Brazil. To this end, we aimed to analyze the voice of countertenor and the falsetto with respect to natural and non-natural voice and its implications in the formation of singers. The specific objectives sought to identify the reasons why there is resistance to work in higher education courses in Music with the voice of countertenor and know the reasons for resistance to own work with the identification of the vocal score. The orientation of the research presents qualitative approach, based on the autobiographical approach and method. The data consisted of fragments of personal and professional career of the researcher as countertenor. Thus, a presentation and historical context about the countertenor voice and falsetto was held. To think his voice and his performance, it was based mainly on the studies of Zumthor (1993; 2005; 2010; 2014), which deal with the complex range of meanings and possibilities of the voice. Based on these studies, it was discussed what is natural and what is called unnatural voice, entering the concepts of nature and culture based on anthropological studies (Lévi-Strauss, Eribon, 1990; Lévi-Strauss, 2009; among others) and passing by studies of Looser (2005) and Linklater (2006 [1976]). These studies, added to different areas such as music, speech therapy and other voice sciences possible to understand why there is resistance to the voice of countertenor and male voice and falsetto at the very identification of the vocal classification in the researched contexts. In the process, it also problematized the very vocal training of singers, based on the understanding of voice as subjective and constitutive dimension of the subject. / A presente dissertação integra os trabalhos do grupo de pesquisa Floema Núcleo de estudos em estética e educação - e vincula-se à Linha de Pesquisa Educação e Artes (LP4) do Programa de Pós-Graduação em Educação (PPGE) da Universidade Federal de Santa Maria (UFSM). A pesquisa trata da formação vocal do sujeito contratenor, partindo da discussão acerca do natural e do não natural no uso do falsete e na voz de contratenores, a qual envolve a problemática do trabalho com essa classificação vocal na formação de cantores, especialmente, em cursos de graduação em Música no Brasil. Para tanto, teve como objetivo geral analisar a voz de contratenor e o falsete no que tange à naturalidade e a não naturalidade da voz e suas implicações na formação de cantores. Como objetivos específicos, buscou identificar as razões para que haja resistência ao trabalho nos cursos superiores de Música com a voz de contratenor, bem como conhecer os motivos da resistência ao próprio trabalho com a identificação dessa classificação vocal. A orientação da pesquisa apresenta enfoque qualitativo, baseado na abordagem e método autobiográfico. Os dados constituíram-se de fragmentos da trajetória pessoal e profissional do pesquisador como contratenor. Assim, foi realizada uma apresentação e contextualização histórica acerca da voz do contratenor e do falsete. Para pensar a voz e sua performance, fundamentou-se, principalmente, nos estudos de Zumthor (1993; 2005; 2010; 2014), que versam sobre a complexa gama de significados e possibilidades da voz. Partindo desses estudos, discutiu-se o que é natural e o que é chamado de não natural na voz, adentrando os conceitos de natureza e cultura tendo por base os estudos antropológicos (LÉVI-STRAUSS, ERIBON, 1990; LÉVI-STRAUSS, 2009; entre outros) e passando por estudos de Looser (2005) e de Linklater (2006 [1976]). Esses estudos, somados aos de diferentes áreas como Música, Fonoaudiologia e outras ciências da voz, possibilitaram compreender as razões pelas quais há resistências à voz de contratenor e ao falsete na voz masculina e a própria identificação dessa classificação vocal nos contextos pesquisados. Nesse processo, problematizou-se também a própria formação vocal de cantores, partindo da compreensão da voz como dimensão subjetiva e constitutiva do sujeito.

No description available.

Welche Bühnenfigur konnte in italienischen Opern um 1800 als Liebhaber oder als Verführer erfolgreicher sein als ein Counter oder ein Kastrat? Höchstens die als Mann verkleidete Frau. Auf sie flogen die Frauen in Frauenkleidern. Wer quer zum üblichen Geschlechterunterschied stand, war auch kompositorisch besonders attraktiv: Züge des einen Geschlechts mussten mit stimmtechnischen, d.h. auch körperlichen Bedingungen des anderen erreicht werden. Auf andere Weise sah sich der Komponist von einem den Geschlechtscharakter der Bühnenfigur gerade nicht verwischenden, sondern explizit festlegenden Genre herausgefordert, der Wahnsinnsszene. Der Text hatte nicht nur davon zu reden, dass die Figur wahnsinnig sei, die Musik musste es zeigen oder: es selber werden. Wahnsinnig wurde in den allermeisten Fällen nur die von einer Frau dargestellte Frau, und zudem war das Privileg solche Szenen zu übernehmen an eine oft besonders hohe Stimmlage gekoppelt. Welchen Schwierigkeiten der Komponist begegnete, wollte er das Genre von dem weiblichen auf das männliche Geschlecht transponieren, wird an einer der seltenen Opernszenen gezeigt, in denen ein Mann, zudem einer mit tiefer Stimme, wahnsinnig werden darf.

Welche Bühnenfigur konnte in italienischen Opern um 1800 als Liebhaber oder als Verführer erfolgreicher sein als ein Counter oder ein Kastrat? Höchstens die als Mann verkleidete Frau. Auf sie flogen die Frauen in Frauenkleidern. Wer quer zum üblichen Geschlechterunterschied stand, war auch kompositorisch besonders attraktiv: Züge des einen Geschlechts mussten mit stimmtechnischen, d.h. auch körperlichen Bedingungen des anderen erreicht werden. Auf andere Weise sah sich der Komponist von einem den Geschlechtscharakter der Bühnenfigur gerade nicht verwischenden, sondern explizit festlegenden Genre herausgefordert, der Wahnsinnsszene. Der Text hatte nicht nur davon zu reden, dass die Figur wahnsinnig sei, die Musik musste es zeigen oder: es selber werden. Wahnsinnig wurde in den allermeisten Fällen nur die von einer Frau dargestellte Frau, und zudem war das Privileg solche Szenen zu übernehmen an eine oft besonders hohe Stimmlage gekoppelt. Welchen Schwierigkeiten der Komponist begegnete, wollte er das Genre von dem weiblichen auf das männliche Geschlecht transponieren, wird an einer der seltenen Opernszenen gezeigt, in denen ein Mann, zudem einer mit tiefer Stimme, wahnsinnig werden darf.