Introduction         As a oralist I am actu each(prenominal)y concerned in different outspoken techniques, e particular(prenominal)ly those name in origination medicament. This was the great bias on the medication I chose for this piece of research. I know in Portugal thereof it is undeniable that I came in tangency with one singer in particular - Dulce Pontes. This singer is soon famous in Portugal for her well and beautiful, soulful interpretation of Fado. Her sing has often been called a meet successor of the great Amália Rodrigues. The study of world music also brought me into contact with Bulgarian verbal music. This writing name has always captured my attention in an uncanny way repayable to its dissonant ambiguities, which sound so rich and pure.         The claims I stand for on in this investigating are Achegate a mim Maruxa, As Sete Mulheres do Minho and Tirioni by Dulce pontes. The Bulgarian songs are from the Pirin Region, which have their stimulate particularities. Sung by the Pirin subject field Folk Ensemble Kakvo e tsvete tsufnalo and Pismo ti e doshlo leave alone be the songs usanced to suck up of credit the ii verbal techniques. This rise comprises of a affinity among a selection of Lusitanian singer Dulce Pontes pieces and Traditional Bulgarian, Pirin verbal music music in nine to explore possible connections amid the two genres, with emphasis on vocal techniques. This is done by exploring the use of structure, technical details and germane(predicate) contextuality.
        The organisation of the essay is as follows: Chapter I.         Chapter I focuses on the analytic thinking of each song with special emphasis on vocal techniques used in all trey Dulce Pontes songs and the two Pirin Ensembles. Chapter II.         This chapter centres on the analysis of the music in terms of structure, technical details and relevant contextuality. Chapter III.         Chapter three discusses the breeding present in the... If you want to get a practiced essay, order it on our website: Ordercustompaper.com
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