Martha Elliott – författare

The first historical overview of vocal performance practice and style ever published, Singing In Style provides an introduction to how such issues as ornamentation, vibrato, rubato, portamento, articulation, tempo, language, and accompaniment with period instruments have been handled since the seventeenth century. Each chapter presents a historical period and gives background information on the singers and composers, the vocal repertoire, and the stylistic conventions of that time. Specific repertoire examples are discussed as well, to show how to use the music itself as a context for making stylistic choices. Each chapter also has an extensive reference list arranged by topic, so the interested reader can pursue a particular subject in more depth.Covering the Baroque period to the present, Elliott casts a wide net, bringing together information from historical treatises, personal accounts from composers, performers, historians, critics, and current scholarly commentary into one convenient handbook for the student and the amateur and professional performer who want to learn more about how vocal works were sung in their day.

An astonishing portrait of a murderer and his complex relationship with a crusading journalistMichael Ross was a serial killer who raped and murdered eight young women between 1981 and 1984, and several years ago the state of Connecticut put him to death. His crimes were horrific, and he paid the ultimate price for them.When journalist Martha Elliott first heard of Ross, she learned what the world knew of him— that he had been a master at hiding in plain sight. Elliott, a staunch critic of the death penalty, was drawn to the case when the Connecticut Supreme Court overturned Ross’s six death sentences. Rather than fight for his life, Ross requested that he be executed because he didn’t want the families of his victims to suffer through a new trial. Elliott was intrigued and sought an interview. The two began a weekly conversation—that developed into an odd form of friendship—that lasted over a decade, until Ross’s last moments on earth.Over the course of his twenty years in prison, Ross had come to embrace faith for the first time in his life. He had also undergone extensive medical treatment. The Michael Ross whom Elliott knew seemed to be a different man from the monster who was capable of such heinous crimes. This Michael Ross made it his mission to share his story with Elliott in the hopes that it would save lives. He was her partner in unlocking the mystery of his own evil.In The Man in the Monster, Martha Elliott gives us a groundbreaking look into the life and motivation of a serial killer. Drawing on a decade of conversations and letters between Ross and the author, readers are given an in-depth view of a killer’s innermost thoughts and secrets, revealing the human face of a monster—without ignoring the horrors of his crimes. Elliott takes us deep into a world of court hearings, tomblike prisons, lawyers hell-bent to kill or to save—and families ravaged by love and hate. This is the personal story of a journalist who came to know herself in ways she could never have imagined when she opened the notebook for that first interview.Praise for The Man in the Monster“Elliott’s harrowing story pulls off something brilliant and new. Elliott peered into the mind of a serial killer by becoming his friend. A narrative that is riveting, honest, and devastating.”—Jack Hitt, author of Bunch of Amateurs: A Search for the American Character“Martha Elliott takes us inside the mind of serial killer and rapist Michael Ross. Elliott spent ten years getting to know the man behind the monster, and the pace of her book is as fast and merciless as a thriller.”—Rebecca Tinsley, author of When the Stars Fall to Earth

A great majority of European music written before 1750 is for voices but remains understudied and underperformed. It includes music for groups of voices and solo voices, with and without instruments, music for the church and the theater, for the court and the chamber, as well as music in different languages and with different national styles. In So You Want to Sing Early Music, Martha Elliott introduces this remarkably rich and varied repertoire within a historical context for the 21st century singer. Focusing on music from the 17th and early 18th centuries, this book offers guidance on style and ornamentation, working with vocal and instrumental colleagues, reading manuscripts and edited editions of scores. Elliot shares advice for how to handle the different kinds of early music performance situations in which singers might find themselves, as well as where to find workshops and performance opportunities. Equally helpful to the classically trained solo singer or amateur choral singer, So You Want to Sing Early Music will allow them to broaden their repertoire and build their stylistic toolbox.Additional chapters by Scott McCoy and Wendy LeBorgne address universal questions of voice science, pedagogy, and vocal health,. The So You Want to Sing seriesis produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Early Music features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.