コレギウム・ラモー神戸は、神戸市灘区のテアトル・ラモーを活動拠点としているバロックの音楽集団です

「着物の伝統と永遠の美」 と題して 2021年9月2、3、4日 、ブルガリアのプロブディフにて、美しい日本の着物の展示と日本の歌の演奏会を開催します。
　

プロブディフは、Neli koychevaの故郷であり、この国際交流イベントが実現しました。

演奏会では、Neli koycheva が日本語で、有名な作曲家による美しい日本の歌をお届けします。

さくら　この道　赤とんぼ　月の砂漠　平城山　 初恋　他

「ブルガリアでの日本文化の日々」をお楽しみ下さい。

このイベントは、ブルガリアの首都ソフィアにある日本大使館の支援を受けています。

展覧会プロデューサー ; Snejana中谷
コンサートプロデューサー ; Neli Koycheva –

Kimono and Japanese traditional music in Plovdiv, Bulgaria,
2,3,4th of September 2021
Exhibition-concert
First event of “ Days of Japanese culture in Bulgaria”.
Snejana Nakatani- producer of the exhibition
Neli Koycheva- producer of the concert

コロナ禍のため一時停止しておりました教室を感染対策を講じて再開することとなりました。
新しい状況に合わせた変更も含めてご案内します。
＜詳細はこちら＞

未来を嘱望される若き打楽器奏者イヴァイロ・コイチェフとコントラルトのネリ・コイチェヴァによるファミリー共演コンサートです。お二人の感動的な音楽の世界をぜひお聞きください。

～イヴァイロ・コイチェフ　プロフィール～
第29回「日本クラッシック音楽コンクール打楽器部門」高校の部1位受賞。
令和元年度「兵庫県ゆずりは賞」受賞。
現在,京都市立芸術大学音楽学部打楽器専攻生として在学中。

Ph.D. Neli Koycheva
Date: September 8th, 2020

Anatomy of the voice

In the classical singing practice and theory stand hand by hand. Before we advance to the vocalization process itself, we should have the common acknowledgment of the anatomical structure of our voice, and how the vocal system is working. The organs, which take part in the process can be differed in 3 main roups:

The first group

Are the organs, that are connected with the singing, include those parts of the body, that provide it with air. The air is the media which is transforming in the voice. This group includes lungs, bronchi, trachea, and breathing muscularity.
I want you to pay attention of the breathing muscularity, because it will take an active part during the working process. They are in two types:

1.
Inspirational muscularity – inspirational. Here, the diaphragm
has the main function. It is a flat muscle in the shape of an umbrella.
When inhaling, it goes down and gets flatter. Thus, it gets to be as if a charger that takes the air into the lungs. During exhalation, the diaphragm rises above and eminds
as a cupola. Other muscles of this group are the ones connected to the
ribs and the collar bones. 75% of the inhalation process in performed by
the diaphragm, the remaining 25% are committed by the other muscles.

2.
The exhalation muscularity – expiration. It is the most important one in the singing process, and during the whole of our lives, we train these muscles, in order to sing beautifully and correctly. Those are four couples, which intertwine and shape the abdominal muscle waist-band. While singing, this waist-band has the most active, and important work.

This is exactly why, during the lesson, I spare some time for a specialized training, which is training, developing, and sustaining the
elasticity power of the mentioned above waist-line.
When it is trained in a long period of time, it gets to be an abdominal press, which, with the power of our own will, and thought control, pushes the air above. I am always repeating to my students, that the abdominal press is the motor of the human voice.

The second group

Are the large group of organs, connected with the singing, are the ones, that sound the air. Here the larynx, the pharynx, tongue, nose, the cavities surrounding the nose and above it, take part too.

1. The Larynx converts the air into a primary sound. It is a vertical tube, compounded of nine cartilages. Inside in the thinest part of the larynx, there are the vocal cords situated, which fulfill the function of the voice generators inside the human body. The vocal cords have a delicate, and in the same time complex structure. Their muscle fibers are able to be reduced into three different directions.

They can vibrate throughout their whole length, or just in different
parts of theirs, thus making the phonation. The vocal cords should
be elastic and strong. Also their color resembles the ivory color.

2. Resonators.
This group includes the places through which the produced in the larynx primary voice passes. Here the sound resonates, and gets its final shape, power and tone quality/timbre. After this, it’s flies away in the outer space with unique color. The resonators of the human voice are: the highest part of the larynx, the oral cavity, the nose, and the surrounding nasal cavity, These organs form the resonator tube. Under the larynx important resonators are trachea and the chest.
In a conclusion, the process is as follows: the air flow is putting in motion the vocal cords. They tremble and produce the voice waves. The voice waves reach out the resonators, and in the acoustic rules, create the phenomenon “human voice”.

Third group

We reached the human voice most important organ – the brain. The singing itself, is a psychophysiological process. The vocalization is a product of a highly organized neural action.
The singing is a neurological program of a very strict consistency. All of the singing habits are formed by the will power, and in consequence they get automated. What is very important to be known is that, before singing, the idea of the voice should be conceived. Out of it, the brain starts commanding all the parts of the vocal apparatus in the reflex arc principle. In a consequence, the breathing, singing, the resonance of the voice and the opposite hearing connection are being accomplished.

詳細PDFはこちら

Ph.D. Neli Koycheva
Date: July 4th, 2020

Some historical facts of the
classical singing – part two

Lecture No4

Thanks to the art school in Florence, the aesthetically criterion of singing are being
developed: singing should be “beautiful, melodious, have wide cantilena, and clearly
pronounced text. These requirements reached their peak with composers such as Alessandro
Scarlatti (1660-1720), and Claudio Monteverdi (1567-1643). After then a headlong tendency
appeared, in which the vocal virtuosity was more significant, and the text was not so
important element in the song. As an example, in the Pergolesi (1710-1736) composer’s opera
“La Serva Padrona”, in which the important vocal element is the coloratura.
Nicola Porpora (1686-1768) – composer and teacher of singing in Neaples, whose most
famous singing students were the castrate: Farinelli, Kaffarelli and Porporino.

Farinelli can be considered as a first singer “superstar”.
Other students of Porpora were composers Johann
Adolf Hasse and Joseph Haydn. In Porpora’s school, apart
of the coloraturas in the scores, pointed out by the composer,
the singers have added more ornaments, passages, and
improvisations in order to demonstrate a brilliant technique.
Bologna was the other famous school of singing in the
17-18th century in Italy. The most famous names are Feri,
Tosi, and Konti. Pier Francesco Tosi (1653-1732) is a
remarkable singer, а castrate, and a famous vocal pedagogue,
teaching both: castrates and non castrates. He created
theoretical labor of correct and precise indications of the bel　canto singers.

The Italian singing stile of the bel canto gets enormous growth in the 17th and 18th
century. It reached its peak in the castrato’s technique. The bel canto stile influenced on the
whole Europe.
Throughout the 17th, 18th and 19th century, chronologically in Europe araised some
important groundworks , prepared by important singing teachers:
• Jean-Baptist Berar ( 1710-1772). L’art du chant, Paris, publ. 1755.
• Bernardo Mengozzi (1758-1800). Methode du chant du Conservatoire de Music.
Paris, 1803.
• Alexis de Garaude (1779-1852). Methode de chant. Paris, 1809.
• Henric-Ferdinand Manschtein (1806-1872). Sisteme de la grande Methode de chant
de Bernacchi de Bologna, 1835.
• Gilbert-Luis Dupre (1806-1896). L’Arte del canto. Paris, 1846.
•Manuel Garcia-father (1775-1832) “Exercises
and Method of Singing with Accompaniment with the
Piano Forte”
•Manuel Garcia-son (1805-1906) “Traits complet
de l’art du chant. Paris”, 1855.
• Francesco Lamperti (1813-1892). L’Arte del
canto. Milano.

The authors which best describe the stile of bel canto singing are Manuel Garcia – father and son. Their works contain the best, most accurate,
detailed and fulfilled description on the ocal techniques.
They give the best base, upon which contemporary way of sing is build and refined.

詳細PDFはこちら

Ph.D. Neli Koycheva
July 4th, 2020

Some historical facts of the
classical singing – part one

Lecture No3

Ever since at the farthest historical times, people have created songs. Some of these songs
were hymns glorifying the Gods, others were exposing the sorrow in times of funeral
ceremonies, and also there were songs, performed in holidays, or competitions too.

• In the Ancient Greece, singing was accompanied with an instrument: for example lire, trigonon, magadis and others.
Throughout the history, there are names of Ancient Greek singers memorized: Terpander, Stesichorus, and others.

Ever since at the farthest historical times, people have created songs. Some of these songs
were hymns glorifying the Gods, others were exposing the sorrow in times of funeral
ceremonies, and also there were songs, performed in holidays, or competitions too.

• There are historical facts about
the art of singing in the Ancient Rome as well.
Three types of a singing school can be found in that period:

1. Vociferarril – teachers who used to work on the vocal diapason.
2. Phonashi – teachers, working of the vocal resonance.
3. Vocales – teachers of the vocal aesthetics.

• The historic data of the vocal art in the 15th century is not so rich, though it is known that
the singers used the imitation as a voice method. In that period mainly professional singing
was the church singing. The voice was required to be at the same time strong but tender, but
also light. Same time the voice making should be never from the nose or from the throat.

• Throughout the Renascence all of the arts in Italy have an active development. Each of us
are aware of the names of Dante, , Boccaccio, Petrarca, Leonardo da Vinci, Michelangelo,
Raffaello, Tiziano, and others as well. All of these authors have been influenced by the
Renaissance’ idea of humanism. Making thus a new way of understanding out of the
Ancient Greek’s ideas of art.
As a big cultural center in the 16th century used to occur in Florence. The music school
Camerata Florentine had been created. It was also known as Camerata de Bardi, that came
out of the name of Count de Bardi. In his home many artists usually gathered for discussing
the arts. The members of this activity were the poet and philosopher Ottavio Runaccini, the
composers Jacobo Peri, Giulio Caccini, Emilio de Cavalieri, Pietro Strozzi, and the lutenist
Vincenzo Galilei.
Most important of this period are:
⁃ The lyrics have been defined as main element in the vocal music, that confirms
the rhythm and melody.
⁃ The basic concepts is that the singer became a soloist and artist. The singer
can creates characters and roles on the stage and is not only a part of the music picture.

⁃ Leonardo da Vinci had represented the first model of the larynx.
⁃ Theoretical compositions about singing had been
created. An example is the book “Nuove Musiche” by Caccini. ‘‘
This book includes ancient madrigals and theory where Caccini
explains the rules of the singing. Some examples of his remarks are
“to be spoken musically”, “clear diction and correct intonation” and
others.
Coloratura passages were used only where it is not being an obstacle
of the text’s pronunciation.
⁃ Some of the earliest Italian operas have been written.
Such as Jacolo Peri’s “Dafne”. “Eurodice” by Caccini, and others.
⁃ The concept of “Dramma per musica” has been
established. Thus had been called the operas in Florence at this
period of time.
Gradually, singing schools had been sprung up at Rome, Venice, Milan, and Naples. The art
of singing was developing very actively throughout the whole Italy at the end of 16th century,
and the beginning of 17th century.

詳細PDFはこちら

新型コロナウィルス関連のニュースが連日報道され緊急事態宣言が延長になり音楽活動等まったく先行きが見えない不安なこの頃です。

この度は大阪音楽大学で2014年に開催された
「サキソフォーン創案者アドルフ・サックス生誕200年記念コンサート」をご紹介致します。
使用されますエラールピアノ(1911年製、平行弦、90鍵フルコンサートピアノ)はコレギウム・ラモー神戸の埴淵みち子が母校に寄贈したものです。

エラール社(1780-1959)の創業者セバスチャン・エラール(1752-1833)はダブル・エスケーブメント(鍵盤が戻りきってなくても次の打鍵ができる機構)はじめ数々の発明、改良を行いました。
19世紀前半エラール社はヨーロッパ屈指のピアノメーカーでした。

歴史的な作曲家達(ベートーベン.ショパン、リスト　etc.)に愛され「天の声」と讃えられた気品あふれる独特の柔らかな音色が皆様に届く日が来ますよう祈ります。

われらの仲間、平山 照秋 （古楽器制作家）野村恵美子（チェンバロ）がNHK神戸放送局の「Live　Loveひょうご」～しっとぉ兵庫～のコーナーに出演

われらの仲間、平山 照秋 （古楽器制作家）野村恵美子（チェンバロ）が

NHK神戸放送局の「Live　Loveひょうご」～しっとぉ兵庫～のコーナーに出演致します。

埴淵みち子も少しだけ映ります。

放送日：2020年2月10日（月）夕方6時30分から7時まで

「Live Love ひょうご」
NHK総合 午後6時30分～ 午後7時00分

About the voice

Voice – a musical instrument everyone has

With the current publication, we will expand the readers knowledge more about the singer‘s voice. With a scientific, but in the same time accessible for understanding of the main principles for work

We, the singers are born with our instrument. Ever since childhood, the voice is revealing its own qualities, power, timber, beautiful voice, and correct intonation. If some parents direct their child to a choir, vocal band or to some individual studies, they should be very precise in selecting the pedagogue or the conductor. About the child’s voice, it is ought to be working delicately, without forcing the fragile voice. The voice’ training of a child is different than that of a professional singer.

After the teenage mutation process has finished, which happens around 17-18 years old, the professional training of the voice may start.

Dear singers, please be careful, while selecting your vocal pedagogue. Have a look of how their past students had realized themselves, awards of competitions, they’ve been at. If he/she is a real vocal pedagogue, just to be a singer is not enough, even if they are famous. Because, for the pedagogue, except being able to sing, they should be able to teach, be aware of the anatomy, and physiology of the voice, and also psychology as well as many other theoretical science, which are studied in the pedagogue major. Allthough, it is what is not included in the singing Major usually.  Except being a professional, for the teacher is good to have a steady character, not to be nervous but to work methodically, without pressing the student.

If your pedagogue, during the study course, requires of you only to imitate him, without developing your individual singing qualities and properties, or experimenting with your voice, without having own method of work and style, then it is good for you to switch your teacher with someone else. And if the teacher use to try some other pedagogical skills which he heard from here and there and not based on methodical program you have to run away of him.

I am explaining now in detail the choice of the lecturer, because the first lecturer is the most important for the development of a singer. From the very beginning, the main habits as a singer are laid, and if they happen not to be proper ones, after that it is very difficult, if not even impossible, to be corrected later on.

The voice is the only musical instrument that has neither spare materials, nor can ever be repaired.

If it gets damaged due to incorrect singing, it can never get restored completely.

Even more, if we are using our instrument during the whole time, even in our daily life, we are talking. It is subjected on virus infections, inflammations, or tiredness. We can not put it in a case or a box, and thus give it a rest until the next repetition or a concert.

That is why the responsibility of the singers to their own voices is huge.

The singers voice is the most difficult instrument there is. The reason of this is, that we can never hold it in our hands, examine and observe it’s work. We can not use our optical perceptions. With the help of our teacher, slowly, but patiently with love, and thus, we are ought to obtain habits, auditory estimation, intuition and control over the whole body.

Along with the singing study, we should learn to take care of our voice.

The voice is a nature gift, that is superb, and unique. If we get used to the knowledge of controlling and working with it correctly, we can set up a long-lived and successful singing career.