Pitch Gliding with 'Voiced Consonants': Function and Application of a Means of Performance Style in Late-Romantic Lieder Singing

从一个音高到另一个音高的滑行过渡可以从书面资料和最早的录音中推断出来，是19世纪末和20世纪初歌手和(弦乐)乐器演奏者最常用的表达方式之一。鉴于如今无处不在的小提琴和相关的表演风格，它们在20世纪西方艺术音乐的表演实践中消失的程度是值得注意的。即使在音乐学研究中，波塔曼托的话题也很少被提及：相对于时间组织的各个方面(例如，语法、节奏的选择和一致性)，音高滑行直到现在才引起相对较少的学术兴趣。这就是我的研究将适用的地方。我的项目将探索歌手使用和利用portamento的一个特殊情况：音高滑行不是通过元音实现的，而是更微妙地--通过‘浊辅音’(‘klinger’)实现的。到目前为止，这是一个几乎没有被研究过的话题。该项目将包括对录音的分析，并辅之以对书面资料的评价。要分析的语料库由作曲家理查德·施特劳斯的代表性Lieder录音组成；它允许纵向切入该曲目自录音时代开始以来的录音历史。我的项目描述引用了我的工作所基于的初步研究，说明了我研究的目的，并解释了我将使用的方法。

Gliding transitions from pitch to pitch, which can be deduced from written sources as well as from the earliest recordings, are one of the most common means of expression used by singers and (string) instrumental players during the late 19th and early 20th century. Given the omnipresence portamento and related devices of performance style these days, the extent to which they have disappeared from the performance practice of Western art music during the 20th century is remarkable. Even in musicological research the topic of portamento has only rarely come up: Versus aspects of time organization (e.g. agogics, choice and consistency of tempo), pitch gliding met relatively little scholarly interest till now. This is where my study will apply. My project will explore a special case of the use singers made and make of portamento: pitch gliding achieved not on vowels but - more subtly - on 'voiced consonants' ('Klinger'). This is a subject that has hardly ever been examined so far. The project will comprise an analysis of recordings, complemented by an evaluation of written sources. The corpus to be analyzed consists of representative recordings of lieder by the composer Richard Strauss; it allows a longitudinal cut through the recording history of this repertoire since the beginning of the recording era. The description of my project cites preliminary studies on which my work is based, states the purposes of my study and explicates the methods I will use.