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  • noun

Synonyms for sprechstimme

a style of dramatic vocalization between singing and speaking

References in periodicals archive ?
He must express himself gruffly in sprechstimme, telling all of the mission given him by God.
The versions of "Alabama-Song" and "Kanonen-Song" (facsimiles 1 and 3), for instance, closely resemble those found in the piano-vocal scores of the works from which they derive (Mahagonny-Songspiet and The Threepenny Opera, respectively) aside from some added doubling of the voice line in the piano part (which actually makes the sheet-music versions snore difficult to play) and the substitution of melody for Sprechstimme in the verse to "Alabama-Song.
Toward the end of act 1, an Austrian woman, who has been hiding from the hijackers in her cabin, sings in Sprechstimme.
Inside Pierrot lunaire: Performing the Sprechstimme in Schoenberg's Masterpiece.
Singer Black Francis alternates between a mumbled Sprechstimme and a more traditionally melodic singing style.
1 [January-March 2005]: 49-69) and Avior Byron ("The Test Pressings of Schoenberg Conducting Pierrot lunaire: Sprechstimme Reconsidered," Music Theory Online 12, no.
The voice part ranges from lyrical phrases to whispered Sprechstimme, spoken words, groans, and animal sounds.
Even Christian Martin Schmidt's essay on Sprechstimme ("Das Problem Sprechgesang bei Arnold Schoenberg") dwells mostly on Schoenberg's various notation systems for Sprechstimme and the composer's directions for performance without discussing any actual performances.
The anthology contains songs composed in a diverse range of musical styles, from Colombian Jacqueline Nova's "A veces un no niega" filled with Sprechstimme, to the Andean-influenced "Yaravi" by Ecuadoran Gerardo Guevara and the simple, diatonic clarity of Salvador Ley's "Copla triste.
Any actor interested in performing the role should note that it requires fairly precise musical timing; although nothing as difficult as Sprechstimme is involved, rhythms are sometimes specified, and Kagel sets up a number of moments where words must coincide with a particular passage in the music.
for the Four Last Songs, and he includes much information about sprechstimme (including Pierrot Lunaire; Kravitt states that Schoenberg didn't care if the pitches were exact as long as the hallucinatory style was present).
Klaus makes it clear that much of the music listed in the book is very difficult and cites several pieces that employ extended vocal techniques, Sprechstimme, aleatoric or improvisatory elements, microtones, and graphic notation, as well as a wide variety of nonstandard accompanimental instruments such as bones, bullroarer, car horn, electric shaver, wrapping paper, and so on.
Elegy is a number opera in which one can almost play the game of identifying sources and models, and the dialogue runs the gamut from spoken prose through melodrama to sprechstimme and recitative.
The reader may notice that the narrator's Sprechstimme part is notated in Schoenberg's late style, meaning that the pitches are notated in relation to a single line rather than on an entire staff as they were in his most famous example of melodramastyle recitation, his 1912 Pierrot Lunaire.
Duthoit makes the late Sprechstimme queen Cathy Berberian and the present-day avant-garde vocalist Donatienne Michel-Dansac seem tame by comparison.