Description
M.A. dissertation which considers the singing style of one Suffolkman, Bob Hart, based on a predominantly musicological analysis of three songs from his repertoire. A number of performances of these songs have been transcribed in detail, and then examined and compared from a specifically intrinsic musical viewpoint, that is, in terms of the technical components of song-speech and music. By reference to external factors, such as the context of each performance, the manner of voice production and the informant's own aesthetics and cultural background, the study isolates some of the musical perameters of his singing style and indicates ways in which cultural, contextual, temperamental, physical and music-technical constraints may all have a bearing on the individual's manner of rendition.
The study's first section, on the transcription of folk song, includes a critical survey of the most important developments in transcription techniques, to put both the collector's methods and results into perspective. The following section details transcriptional procedure, and includes a glossary of symbols used. There follow typed texts, tune transcriptions and commentaries for the three songs 'All Jolly Fellows that Follow the Plough', 'The Female Cabin Boy' and 'Banks of Sweet Primroses'.
The final section on Bob Hart's singing style includes a biographical note, sections on vocal aesthetics, performance style, vocal style and the relationship between words and music in vocal performance. An Appendix gives a table of pitch modifications.
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