Definitions

from Wiktionary, Creative Commons Attribution/Share-Alike License.

  • noun A dramatic vocal style midway between speaking and singing.

from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.

  • noun a style of dramatic vocalization between singing and speaking

Etymologies

from Wiktionary, Creative Commons Attribution/Share-Alike License

From German Sprechstimme.

Examples

  • I could take it until the term Sprechstimme popped up in an article on The Supremes.

    Buried Alive, The Biography of Janis Joplin

  • The mannerisms that drive some people crazy were all there — vaults into notes from initial consonants a floor or two below; sudden shifts into near-Sprechstimme stage whisper; slide-whistle floating in high, soft phrases; a certain slipperiness of vowel (“uh” became “eh” fairly consistently).

    To-morrow, and to-morrow, and to-morrow

  • A recording of Arnold Schönberg's Sprechstimme -style setting of Albert Giraud's poem sequence "Pierrot Lunaire" is played continually in the back room.

    A Teacher, a Student and Three Books

  • Nor is the singing allowed to be pretty: Much of it is delivered in a kind of Sprechstimme.

    Waging Underclass Warfare

  • The mannerisms that drive some people crazy were all there — vaults into notes from initial consonants a floor or two below; sudden shifts into near-Sprechstimme stage whisper; slide-whistle floating in high, soft phrases; a certain slipperiness of vowel (“uh” became “eh” fairly consistently).

    Archive 2009-04-01

  • Both roles featured the swooping phrases and extreme leaps characteristic of both Chinese opera and the 20th-century song-speech technique of Sprechstimme, emphasizing the nonhuman essence of these characters without resorting to caricature.

    The Sweet Smell of Success

  • Both roles featured the swooping phrases and extreme leaps characteristic of both Chinese opera and the 20th-century song-speech technique of Sprechstimme, emphasizing the nonhuman essence of these characters without resorting to caricature.

    The Sweet Smell of Success

  • Lucy Shelton was the soprano, singing with a text-driven timbral variety that ran the gamut from whispered Sprechstimme to soaring verismo; Christoph Altstaedt conducted.

    Magna Carter (3): The stuff that dreams are made of

  • Both roles featured the swooping phrases and extreme leaps characteristic of both Chinese opera and the 20th-century song-speech technique of Sprechstimme, emphasizing the nonhuman essence of these characters without resorting to caricature.

    The Sweet Smell of Success

  • Both roles featured the swooping phrases and extreme leaps characteristic of both Chinese opera and the 20th-century song-speech technique of Sprechstimme, emphasizing the nonhuman essence of these characters without resorting to caricature.

    The Sweet Smell of Success

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