Word: vocalisms
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Dates: during 2000-2009
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...their enjoyment to the audience. Turning around often to smile and communicate with Eno, the band members operated as a well-oiled machine, cohesive in the way bands that lack extravagant individual virtuosos have to be. The band showcased their best qualities, namely Daniel’s likeable vocal approach and on the alternating use of slow climax and simple backbeats (although he had a full kit, Eno could have done the same job with just snare, bass, and hi-hat). Sometimes sounding like art-pop legends 10cc covering Prince, and other times sounding completely themselves, Spoon delivered...
...Matt Sweeney’s guitars: the last time Oldham and Sweeney collaborated, as the alt-country power-duo “Superwolf,” the results were similarly heavy. Though you wouldn’t expect it, this harder sound really enhances Oldham’s vocal performance: he forsakes the irritating mumble-whisper delivery of albums past for throatier, fuller vocalizations. As a result, this is one of the few albums in which all of Oldham’s cryptic lyrics are intelligible. And Oldham is some kind of lyricist: his language marries the lovelorn yearning...
...them. This proved to be the case. The jump in condom usage was from 24,468 to 31,589 but no increase in general feedback of condom breakage.” Other schools, including Yale and University of Pennsylvania, distribute LifeStyles condoms as well. Students’ vocal concerns over Airs’ ungrounded comments demonstrate the need for increased awareness about condom safety issues. It is correct condom usage, and not the LifeStyles condom brand, that is most important in practicing safe sex. Putting condoms on correctly, keeping them in a good place (not a wallet), and treating condoms...
...Plaisirs.” In her role as the vain and self-important Musique who holds the rest of the court as her captive audience when she sings, Annelisa H. Pedersen ’06 convincingly lets her lungs rip to emit a smooth tone, revealing a refined vocal technique...
Most of the members of this year’s cast are undergraduates, which is impressive considering the vocal and lexical demands of the work. The students were, no doubt, aided by the expertise of Baroque music specialists Mealy and former Harvard Arts Medalist, and internationally-acclaimed authority on the French Baroque repertoire, William Christie ’66. Christie was able to spend some time working with the cast in October, thanks to a grant from the Office of the Arts. Thus, continuing the HEMS tradition of strong opera adaptations, the youthful cast and staff here added a refreshing...