المعرفة

تينور

تينور إنگليزية: tenor هو نوع من الأصوات الغنائية الرجالية، والذي يعتبر أعلى الأصوات الرجولية في المجال الوسطي. يصنف صوت التينور بأنه يحتل المجال بين نغمة C الأولى تحت C الوسطى حتى A فوق C الوسطى في الموسيقى الكورالية. ينطبق مصطلح تينور أيضا على الآلات الموسيقية، ومن أشهرها تينور ساكسفون. أصل كلمة تينور هو من اللغة اللاتينية والتي تعني "المحافظة".

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التاريخ

The name "tenor" derives from the Latin word tenere, which means "to hold". As Fallows, Jander, Forbes, Steane, Harris and Waldman note in the "Tenor" article at Grove Music Online:

In polyphony between about 1250 and 1500, the [tenor was the] structurally fundamental (or 'holding') voice, vocal or instrumental; by the 15th century it came to signify the male voice that sang such parts.[1]

All other voices were normally calculated in relation to the tenor, which often proceeded in longer note values and carried a borrowed Cantus firmus melody. Until the late 16th-century introduction of the contratenor singers, the tenor was usually the highest voice, assuming the role of providing a foundation. It was also in the 18th century that "tenor" came to signify the male voice that sang such parts. Thus, for earlier repertoire, a line marked 'tenor' indicated the part's role, and not the required voice type; indeed, even as late as the eighteenth century, partbooks labelled 'tenor' might contain parts for a range of voice types.[2][صفحة مطلوبة]


النطاق الصوتي

 
Tenor vocal range (C3–C5) notated on the treble staff (left) and on piano keyboard in green with dot marking middle C (C4). Note that the numeral eight below the treble clef indicates that the pitches sound an octave lower than written: see Clef#Octave clefs. This is the standard clef for tenor parts in scores.
 

The vocal range of the tenor is one of the highest of the male voice types. Within opera, the lowest note in the standard tenor repertoire is widely defined to be B2. However, the role of Rodrigo di Dhu (written for Andrea Nozzari) in Rossini's rarely performed La donna del lago is defined as a tenor but requires an A♭2.[بحاجة لمصدر] Within more frequently performed repertoire, Mime and Herod both call for an A2.[بحاجة لمصدر] A few tenor roles in the standard repertoire call for a "tenor C" (C5, one octave above middle C). Some, if not all, of the few top Cs in the standard operatic repertoire are either optional—such as in "Che gelida manina" in Puccini's La bohème—or interpolated (added) by tradition, such as in "Di quella pira" from Verdi's Il trovatore); however, the highest demanded note in the standard tenor operatic repertoire is D5, found in "Mes amis, écoutez l'histoire"[3] from Adolphe Adam's Le postillon de Lonjumeau and "Loin de son amie"[4] from Fromental Halévy's La Juive). In the leggero repertoire, the highest note is F5 (Arturo in "Credeasi, misera" from Bellini's I puritani),[5][بحاجة لمصدر غير رئيسي][6] therefore, very few tenors have this role in their repertoire without transposition (given the raising of concert pitch since its composition),[7] or resorting to falsetto.

تينور في الكورال

الاستخدامات الأخرى

تصنيف صوت تينور

Leggero تينور

Leggero tenor roles in operas:[7]

من أبرز مطربي Leggero تينور :-


تينور في القصيدة الغنائية

Lyric tenor roles in operas:[7]

أبرز مطربي تينور القصيدة الغنائية :

سپنتو تينور

أدوار السپنتو تينور Spinto tenor في الأوپرات:[7]

أبرز مغني السپنتو تينور :

دراما تينور

Dramatic tenor roles in operas:[7]

أبرز مطربي التينور الدرامية :


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Heldentenor

Heldentenor roles in operas:[7]

أبرز مطربي Heldentenor :-

تينور موزارت

Mozart tenor roles in Mozart Operas:[7]

مرجعية مطربي موزارت تينور :


تينور buffo أو Spieltenor

Tenor buffo or Spieltenor roles in operas:[7]

أبرز مطربي تينور buffo أو Spieltenor :-

أوبريت

All of the Gilbert and Sullivan operettas have at least one lead lyric tenor character; other notable roles are:

انظر أيضا

المصادر

  1. ^ Fallows, David; Jander, Owen; Forbes, Elizabeth; Steane, J. B.; Harris, Ellen T.; and Waldman, Gerald (2001). "Tenor" قالب:Subscription. Grove Music Online.
  2. ^ Stark, James (2003). Bel Canto: A History of Vocal Pedagogy. Toronto, CAN: University of Toronto Press. ISBN 9780802086143.
  3. ^ قالب:AllMusic
  4. ^ Glaubitz, Robert (2010). "Loin de son amie—No. 3, Sérénade from Act I of the French opera La Juive by Jacques François Fromental Halévy". Aria-Database.com. Archived from the original on 17 أبريل 2017. Retrieved 16 أبريل 2017.
  5. ^ IMSLP Staff [Guo, Edward W. et al.] (2017). "Bellini – I puritani (vocal score)" (PDF). IMSLP.org. Wilmington, DE: International Music Score Library Project (IMSLP)/Petrucci Music Library (Project Petrucci LLC). pp. 254, 256.
  6. ^ Calico, Joy. "Romantic and Modern Music Literature (MUSL 244)" (PDF). p. 7.
  7. ^ أ ب ت ث ج ح خ د Boldrey, Richard (1994). Guide to Operatic Roles and Arias. Caldwell Publishing. ISBN 9781877761645.[صفحة مطلوبة]
  8. ^ SIAA Foundation Francisco Araiza gehört zu den lyrischen Tenören, der vor allem als Mozart- und Rossini-Tenor, aber auch als Liedersänger Massstäbe setzte
  9. ^ Musística, Directory for Classical Music Francisco Araiza Recordings
  10. ^ Staatliche Hochschule für Musik und Darstellende Kunst, Stuttgart. Prof. KS Francisco Araiza
  11. ^ Dermota blieb er aber seiner Wahlheimat verbunden und wurde ein wesentlicher Vertreter des legendären Mozart-Ensembles.
  12. ^ Anton Dermota Discography
  13. ^ Prof. Peter Schreier seit Beginn seiner Laufbahn als hervorragender Mozart-Tenor...
  14. ^ Peter Schreier Discography
  15. ^ Gösta Winberg Biography
  16. ^ Gösta Winbergh moved from primacy in Mozart roles into spinto, dramatic, and even heroic roles
  17. ^ Fritz Wunderlich, Jahrgang 1930, startete seine Karriere als Mozart-Tenor.
  18. ^ Fritz Wunderlich Discography
  • David Fallows, Owen Jander. "Tenor", Grove Music Online, ed. L. Macy, grovemusic.com (subscription required)
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