...For the Leontyne Price. She’s full name is Mary Violet Leontyne Price, born February 10, 1927, Laurel, Mississippi, is an American soprano. She was in the fifties and sixties by a wide range of international acclaim, also she was one of the first African Americans to become a leading artist at the Metropolitan Opera. She performers the song Knoxville: Summer of 1995 at Carnegie Hall. 1959 and the song was included in her discography “Leontyne Price Sings Barber, RCA, 1968” . The interesting fact is Leontyne Price and Samuel Barber are friends. In the 1953 recording features the 26-year-old Leontyne Price, stay by Samuel Barber. The duo's performance is issued complete for the first time. In this recital Leontyne Price and Samuel Barber give the world premiere performance of Barber's "Hermit...
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...Samuel Barber was an extremely well-educated musician and one of the most celebrated composers in the 20th century. His music was known for its warm romantic lyricism, melodies, and conservative harmonic style. Much of his work included voice and he wrote effectively in a wide range of genres including orchestral, vocal music, chamber music, choral, concerto, keyboard, and opera. Samuel Osmond Barber II was born on March 9, 1910 in West Chester, Pennsylvania to Samuel Le Roy Barber and Marguerite McLeod Beatty. His father, Roy, was a well known physician and his mother was a pianist. As a child, he was taught to sing by his aunt, Louise Homer, a famous singer with the Metropolitan Opera in New York City. Her husband, Sidney Homer, was...
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...1 The Evolution of Music in Film and its Psychological Impact on Audiences By Stuart Fischoff, Ph.D. “I feel that music on the screen can seek out and intensify the inner thoughts of the characters. It can invest a scene with terror, grandeur, gaiety, or misery. It can propel narrative swiftly forward, or slow it down. It often lifts mere dialogue into the realm of poetry. Finally, it is the communicating link between the screen and the audience, reaching out and enveloping all into one single experience.” Film composer Bernard Herrmann. Why Is There Music in Film? The general feeling about film is that it is singularly a visual experience. It is not. While we certainly experience film through our eyes, we just as surely experience it through our ears. Especially today, particularly with modern home and theater sound systems offering multi-channel sound and high fidelity. Films are generally fantasies. And fantasies by definition defy logic and reality. They conspire with the imagination. Music works upon the unconscious mind. Consequently, music works well with film because it is an ally of illusion. Music plays upon our emotions. It is generally a non-intellectual communication. The listener does not need to know what the music means, only how it makes him feel. Listeners, then, find the musical experience in film one that is less knowing and more feeling. The onscreen action, of course, provides clues and cues as to how the accompanying music does...
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