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An Analysis of Emma Diruf Seiler's Teaching Philosophy and Contribution to Voice Pedagogy
Emma Diruf Seiler (1821-1886) was a Bavarian-American voice teacher and scientist who wrote and published Altes und Neues über die Ausbildung des Gesangorganes mit besonderer Rücksicht auf die Frauenstimme (Old and New in the Art of Singing, with Special Attention to the Female Voice) in 1861 while working in Leipzig. It was translated by William Henry Furness and published in Philadelphia as The Voice in Singing in 1868. This pedagogue and her writings are largely unknown to those who study historic bel canto pedagogy. In the opening of Seiler's pamphlet, she explained her purpose for writing was "to bring into harmony things which have always been treated separately, the Science and the Art of Singing..." Aside from brief comments in a few books on vocal pedagogy, Emma Seiler is largely unknown. Neither her contribution to voice science and pedagogy, nor the impact of her integrated philosophy on teaching have been subjected to scholarly scrutiny. The purpose of this document is to explore her philosophy on teaching, her method of female vocal instruction, and her impact on voice instruction. This dissertation historicizes evidence-based pedagogy through Seiler's example.
An Analysis of the Representation of Queen Elizabeth I of England in the Operas by Rossini, Donizetti, and Thomas in the Context of Nineteenth-Century Vocal Style and Historical Influence
The purpose of this research is to analyze representations of Queen Elizabeth I of England in nineteenth-century Franco-Italian opera, and the relationship of these representations to contemporaneous singing style and the historical background. The basis for this analysis is three arias: "Quant'é grato all'alma mia" from Elisabetta, regina d'Inghilterra (1815) by Gioachino Rossini (1792-1868), "Sì, vuol di Francia il rege...Ah! quando all'ara scorgemi...Ah! dal ciel discenda un raggio" from Maria Stuarda (1835) by Gaetano Donizetti (1797-1848), and "Malgré l'éclat qui m'environne" from Le songe d'une nuit d'été (1850) by Ambroise Thomas (1811-1896). This research is divided into two main sections: the historical background of Italy and France in the nineteenth century, especially in the contemporaneous vocal style and fashions of literature; and a discussion of the composers' musical and dramatic choices for Queen Elizabeth I in the three selected arias. Chapter 2 is a brief introduction to the early nineteenth-century Franco-Italian historical background, vocal style, and popular literature. Chapter 3 presents an analysis of the three arias. The last chapter summarizes the representations of Elizabeth I in nineteenth-century politics, literature, and vocal style.
An Anthology of Tenor Arias from Korean Operas
The first Western opera to be performed in Korea was Verdi's La Traviata on January 16, 1948, by the Joseon Opera Company. The first Korean opera, Chunhyangjeon by Jae Myung Hyun, premiered at the Korean National Theater in May 1950, just before the outbreak of the Korean War. Daejeon.go.kr reports that since that year approximately 200 Korean operas have been produced in Korea. Nevertheless, there have been consistent efforts to create and introduce Korean operas to the public. Most of them ended up being "one-off" performances with a single production. Most research on Korean opera has focused on its history, the challenges of producing new operas, or an analysis of selected Korean operas. This study equips singers with the following: pertinent historical background with the libretto, a synopsis, research regarding the composer and librettist, a character analysis, vocal and textual analysis of the selected opera arias, instruction regarding the Korean language, IPA, and a word-by-word translation of the text. I also make recommendations for tenor arias from Korean operas for singers with specific voice types.
Are We Zwisch-ing Yet? An Examination of the Zwischenfach Voice Category and Selected Twenty-First Century American Arias
The German word Zwischenfach often refers to opera roles and singers whose voices lie between the categories of mezzo-soprano and soprano. While the term is not universally accepted as a voice category, Zwischenfach voices and roles are being discussed more openly and with more specificity in collegiate and professional circles. This document includes a discussion on the challenges of categorizing dramatic voices, mezzo-soprano voices, and those who could be considered Zwischenfach, taking into consideration the inherent ambiguity and flexibility within these voice categories. The elements that have led to developmental changes in opera voices and their categories over the centuries provide insight and context on how Zwischenfach has become a term that describes the ambiguity and challenge of classifying opera voices in the twenty-first century. A main focus of this document is a discussion of eleven pieces from twenty-first century American operas which a Zwischenfach singer could consider for auditions and performances. Operas included are: Dead Man Walking by Jake Heggie, The Grapes of Wrath by Ricky Ian Gordon, After Life and Glory Denied by Tom Cipullo, Lysistrata by Mark Adamo, Dinner at Eight by William Bolcom, and Fantastic Mr. Fox by Tobias Picker. My hope is that this document will give Zwischenfach voices a resource when choosing twenty-first century repertoire and promote further discussion and acceptance of the Zwischenfach voice category.
The Association between Sleep Patterns and Singing Voice Quality during the COVID-19 Pandemic
This study investigated the associations between sleep patterns and singing voice quality in 231 adult singers of various skill levels across the United States. The four-part survey using a general questionnaire on demographics, musical background, vocal health, and three established survey instruments: the Pittsburgh Sleep Quality Index (PSQI), the Singing Voice Handicap Index-10 (SVHI-10), and the Epworth Sleepiness Scale (ESS) found that while scores were worse than normative values for the PSQI and the SVHI-10, a Pearson correlation between the two showed a moderate association. A linear regression also yielded that 8.9% of the variance in SVHI-10 scores could be predicted from PSQI scores. While further research is needed in this area, this study suggests that the amount of sleep needed for an optimal singing voice may be different from the amount needed to feel well-rested for some singers. Moreover, singers may overestimate the influence of sleep on their singing voices.
"A Balloon Flower": A Study and Interpretive Guide to the Gagok of Jihoon Park
Jihoon Park (b.1973), a South Korean composer with over 500 compositions spanning multiple genres, is treasured in his motherland as the most noteworthy composer of his generation. This study provides an in-depth introduction of the gagok (Korean art songs) of Park to Western teachers and students of singing, discussing his compositional techniques and their application to the interpretation of his selected songs. Moreover, the introduction to International Korean Phonetic Alphabet (IKPA) to supplement the traditionally used International Phonetics Alphabet (IPA) serves as the foundation and model for further exploration into Korean art song literature by Western scholars.
Il bel canto russo: Incorporating Principles from the Old Italian School of Singing to Russian Lyric Diction Utilizing the Songs of Mikhail Glinka (1804 -1857)
Mikhail Glinka (1804-1857) is widely recognized as a founding father of Russian classical music, but in fact, his music represents a bridge: it establishes a distinctive Slavic sound built on the Italian roots of Glinka's musical inspiration. As a young man, Glinka traveled abroad, which included three years spent in Italy, where he gained extensive exposure to and familiarity with what modern scholarship refers to as the Old Italian School of Singing. This influence makes his songs an ideal introduction to Russian lyric diction while reinforcing the tenets of sound vocalism. This study explores four Glinka melodies: "Doubt ," "To Molly," "The Lark," and "Cavatina." Previously published only in their original keys, the songs are presented here transposed into keys suitable for a young bass and a young baritone singer, with the melody line placed in the bass clef and corresponding IPA transcriptions beneath the original Cyrillic text. Following both an introduction that contextualizes Glinka as a composer enamored of 19th-century Italian opera and a discussion of technical and stylistic aspects regarding the production of sound in that same era, there is a brief examination of Russian lyric diction intended to inspire further study of this unique and rewarding singing language. The study concludes by offering commentary on the application of technical and stylistic aspects of the Old Italian School of Singing to the aforementioned melodies.
Bilitis as Interpreted in Charles Koechlin's "Cinq chansons de Bilitis"
Charles Koechlin (1867–1950) has been a notable figure in French music since the late nineteenth century. However, Koechlin's mélodies are not performed as often as the art songs of many other French composers. Koechlin's Cinq chansons de Bilitis is a collection of five songs based on Pierre Louÿs's Les chansons de Bilitis. The cycle was completed in 1898–1908. The stories of Bilitis are beautifully set by Koechlin, who uses his wide compositional facility. This dissertation serves as a guide to be used by performers, vocal coaches, and instructors in their preparation and performance of Koechlin's Cinq chansons de Bilitis. The introductory Chapter 1 is followed by Chapter 2, which presents Koechlin's biography, an overview of his selected vocal works, and information related to Cinq chansons de Bilitis. Chapter 3 includes Pierre Louÿs's biography and information related to Les chansons de Bilitis. Chapter 4 concentrates on the stories of the invented figure Bilitis from Les chansons de Bilitis. Chapter 5 examines the five songs by discussing the background of each song; giving an analysis of the music and performance suggestions; providing an International Phonetic Alphabet transcription and a word-for-word translation; and evaluating the difficulty level. Chapter 6 summarizes the significance of Koechlin's Cinq chansons de Bilitis for performers, vocal coaches, and instructors. Appendices include an evaluation table of Cinq chansons de Bilitis, a list of Bilitis settings, and a list of Koechlin's vocal works.
"A Blossoming Tree": A Study and Interpretive Guide to the Songs of Nan-Chang Chien on Selected Poems of Muren Hsi
According to a recent United Nations report, China's population of 1.4 billion represents 19% of the world's entire population of 7.6 billion. As the distance between east and west contracts in business, so too do the arts. This dissertation focuses on six selected contemporary Chinese art songs composed by Nan-Chang Chien. By providing the references of musical facts, synopsis of the poems, word-for-word translation, IPA transcription, poetic translation, and interpretive and performance guides, singers and pianists will have an overall understanding and detailed directions for learning the Chinese language and Chinese art songs. This dissertation also provides the foundation and model for further exploration and research into Chinese art sing literature by scholars in the west.
The Brazilian Art Song and the Non-Brazilian Portuguese Singer: A Performance Guide to Nine Songs by Alberto Nepomuceno
Alberto Nepomuceno (1864-1920) is considered to be the father of the Brazilian art song. With a total of seventy songs, Nepomuceno revolutionized and established a new path to the Brazilian art song. His songs were innovative because they: (1) incorporated folk elements in his songs, (2) introduced Portuguese as a language acceptable in bel canto style and (3) established Brazilian songs in the tradition of the European vanguard. His approach influenced several composers including his young student Heitor Villa-Lobos (1887-1959), one of the most significant Latin American composers. The purpose of this research is to inform singers and teachers about one of Brazil's most significant art song composers, and to provide the necessary tools--Brazilian Portuguese diction guide, IPA and poem translations of the selected songs--for effective and accurate performances and interpretations.
Chinese Art Songs in the 1930s: An Analysis and Interpretive Guide of Six Selected Songs by Huang Zi (1904-1938)
Chinese art songs—which are derived from over four thousand years of Chinese culture and combine unique Chinese literary and musical flavors with Western compositional techniques—remain largely unknown in the Western world. Chinese art song, a treasure of a genre, deserves more attention from Western singers and scholars. With a population of 1.41 billion, China has the largest potential market for bel canto singing. Not only will studying Chinese art songs enrich a singer's worldview and repertoire choices, doing so will also be advantageous when singing internationally. In order to assist non-Chinese-speaking singers overcome the difficult language barrier that often prevents them from studying Chinese art songs, I have chosen six songs by the renowned early twentieth century Chinese composer, Huang Zi (1904–1938) to analyze. Although he remains virtually unknown in the Western scholarly world, Huang's Chinese art songs, which include both ancient and contemporary Chinese poetry as well as Chinese and Western musical characteristics, are representative of this genre. By analyzing the poetry and musical settings of six Chinese art songs by Huang Zi, providing pronunciation instructions for Mandarin Chinese, word-for-word and poetic translations, practical International Phonetic Alphabet (IPA) transcriptions from the Pinyin system, and creating an interpretive guide of these songs, this project aims to help singers worldwide to prepare and perform Chinese art songs in a more expressive and authentic way. Taking this project as the first step, singers and scholars worldwide will be able to study and research more Chinese art songs and explore a new artistic world.
Clinical Symptoms and Signs Related to Voice Disorders among Collegiate-Level Singers: A Retrospective Study
The objectives of this research were to (1) characterize the demographics and vocal health history of collegiate-level singers, particularly those with a voice disorder and (2) describe and compare self-reported symptoms of singers across diagnostic categories of vocal fold disorders. Clinical reports of 56 collegiate-level singers (15 male and 41 female) who visited the Voice Diagnostic Clinic at the University of North Texas for voice evaluations between 2010 and 2015 were reviewed. Information was extracted from clinical records including demographic data, vocal health history, self-reported voice-related symptoms, and voice diagnosis confirmed by strobolaryngoscopic examinations and phonatory function testing. Diagnoses of voice disorders were grouped under three categories: normal (i.e., no perceptible pathology), benign lesions and irritation/inflammation. Seven singers were diagnosed as normal, 27 (51.8%) with benign lesions, and 22 (39.3%) with irritation/inflammation. All singers diagnosed as normal were females. Female singers have twice as many benign lesions as irritation/inflammation whereas males presented the opposite pattern. Nodules, polyps, cysts and irritation/inflammation were the most common voice disorders. Singers with allergies and a past history of voice problems demonstrated a higher incidence of voice disorders. The top five self-reported vocal symptoms were worse voice in the morning (50%), pain in throat (46.4%), voice worse with prolonged use (44.6%), vocal fatigue (42.9%), and breathiness (41.1%). Self-reported symptoms are not a reliable screening tool to determine presence or absence of vocal pathology. Voice teachers must be familiar with the singing and speaking voice of each student, so as to perceive early onset of vocal attrition symptoms and encourage the student in seeking medical attention.
Comparison of Holograph and Copyist Scores of Charles Martin Loeffler's "Rapsodies pour voix, clarinette, alto, et piano" (1898)
Rapsodies pour voix, clarinette, alto, et piano is a set of three songs by Charles Martin Loeffler (1861-1935) with text by Maurice Rollinat (1846-1903). The songs were composed in the summer of 1898 but never published during Loeffler's lifetime. This study compares Loeffler's holograph and copyist scores, showing differences in pitch, rhythm, and various articulation markings. Loeffler and Rollinat's biographies are included, along with scans of the holograph and copyist scores.
Così fan tutte? A Study of Character Development through Key Characteristics in the Prima Donna and Soubrette Roles from Four of W.A. Mozart's Late Italian Operas
This dissertation investigates how W. A. Mozart applies the concept of key characteristics—the affective properties of each tonality—as discussed by three of his contemporaries, Johann Mattheson, C.F.D. Schubart and G.J. Vogler, to four soubrette and four prima donna characters from four of his late Italian operas: La Contessa and Susanna in Le nozze di Figaro; Donna Anna and Zerlina in Don Giovanni; Fiordiligi and Despina in Così fan tutte; Vitellia and Servilia in La clemenza di Tito. The analytical method of this dissertation provides a hermeneutical tool to search for meanings in Mozart's music. The application compares the libretto text and its corresponding tonal center with the description of key characteristics on a micro level, to reveal significant dramatic and practical implications from Mozart's key usage in his operas.
A Countertenor Aria Collection Continuum for Studio Training and Performance
An assessment of the standard voice instructor or performer collection of printed music would likely reveal numerous operatic repertoire volumes in anthology format appropriated to the primary four voice categories. However, thorough investigation divulges little in comparable printed material accessible to the countertenor. This scarcity of systemized collections is especially evident in the territory of comprehensive countertenor operatic repertoire. This project fills that present void by creating a compilation of sixteen countertenor arias drawn from various styles and historical periods for suggested application in studio instruction and performance. Perhaps, a more meaningful project intent is the presentation of a beneficial graded literature continuum resource for the studio teacher who instructs a countertenor in various stages of vocal development. For this purpose, each of the 16 arias is categorized into four difficulty levels based on considerations of range, tessitura, coloratura demands, rhythm, sustained phrase length, tonality, melodic considerations/overall musical difficulty, accompaniment support, and ornamentation requirements. The project also addresses common issues of pedagogy and ornamentation for voice teacher consideration when instructing a developing countertenor.
Czech Opera Arias: An Anthology for Soprano
This anthology of late 19th- and early 20th-century Czech opera arias for soprano focuses on works that lack existing scholarship, bridging the language gap through translations and pronunciation materials for English-speaking singers. Its 24 arias supplement the works of Smetana, Dvořák, and Janáček with those of contemporaneous composers Karel Bendl, Zdeněk Fibich, Josef Bohuslav Foerster, Karel Kovařovic, Vítězslav Novák, and Otakar Ostrčil. Its musicological scope provides vignettes of the musical-cultural landscape of Czech opera around the turn of the 20th century, the transformation of Czech declamation during that period, and the language knowledge needed to sing the works thereof. Chapter 2 elucidates the methodology used in the anthology's phonetic transcriptions and discusses the unique articulatory demands of singing in Czech. Chapter 3 grounds contemporaneous discussion of Czech declamation as late 19th- and early 20th-century composers and librettists sought to shape a musical voice suited to the features of their language. The following chapter is a look at Janáček's unique solution to this challenge. In Chapter 5, the relationship between criticism and composition is examined for these two faces of Czech modernism. Finally, Chapter 6 includes new performance editions of the arias curated for the anthology. Each aria is accompanied by an idiomatic translation, an inline phonetic transcription and word-for-word translation, a brief biographical introduction of the composer, and background information contextualizing the aria and the work from which it is derived. The objective of the anthology is to facilitate a broader range of well-informed performances of Czech repertoire as well as the acquisition of Czech lyric diction for singers at various experience levels.
A Detailed Investigation, Comparison, and Analysis of the Practice Habits of Undergraduate Vocal and Piano Performance Majors
For musicians of all kinds, practice is an essential component in establishing and refining their skills. How a musician learns the art of practicing, and at what point in their musical and cognitive development can vary drastically. The purpose of this research is to understand how two groups of musicians, undergraduate vocal performance majors and undergraduate piano performance majors, developed (or consequently failed to develop) their respective knowledge pertaining to effective practice prior to entering the university setting, and how their practice habits changed (or consequently failed to change) after beginning study with a university instructor. This is accomplished by comparing the practice habits of the two groups prior to entering the university setting, and, after gaining admission into the degree program. Findings are supplemented with recent research pertaining to the study of learning and various types of practice.
Dissertation: "Scent of Ink": A Study and Performance Guide of Selected Gagok by Wonju Lee
Wonju Lee (b. 1979) has already made her own unique contribution to Korean art song. Her songs commissioned by classical Korean music performers have been recorded and released on record labels such as Universal Music and Sony Music. Albums include the Gagok collection, Lee Hwa-woo, The Pear Blossom Falls published by Soo Moon Dang. Some songs have been published by music publishers in the United States such as Classical Vocal Reprints and in Korea by the Korean Traditional Music Resource Center. Wonju Lee's songs are being performed by singers not only in Korea but also in the United States. This study provides information regarding the history of Gagok (Korean art songs) and discusses two duets "Scent of Ink" and "Under the Cherry Tree," and three solo songs "Sam-Arirang," "Relationship," and "Loom Song" by Wonju Lee. This critical essay includes biographical information about the composer and poets, IPA transcriptions for each song, and both word-for-word and poetic translations. In addition, using the methodology from Carol Kimball's book Song: A Guide to Art Song Style and Literature, style sheets of musical characteristics for each song and for the composer are provided and serve as the basis for interpretive recommendations for performers.
Distance Learning in Singing Education: An Overview of Historical and Modern Approaches and Future Trends
This research of distance learning in singing study provides some historical framework of long-distance singing study, including research on three former distance singing courses, which exemplify the "best practices" of their time: Siegel-Myers Correspondence School of Music, the Perfect Voice Institute, and the Hermann Klein Phono-Vocal Method: Based Upon the Famous School of Manuel Garcia. I also discuss current trends in long-distance singing study, including interviews and insights from current long-distance singing teachers using cutting edge technology in their virtual studios. Lastly, I make predictions and projections, based on analyses of past "best practices," where this information may have impact upon future methods of distance singing lessons, including conceivable distance singing course components of online degree programs offered at universities.
Do You Know the Storm?: The Forgotten Lieder of Franz Schreker
Franz Schreker (1878-1934) was a Jewish-Austrian composer of great success during the first decades of the twentieth century. Schreker’s reputation diminished after 1933 when Hitler came to power and, in 1938, his compositions were labeled Entartete Musik (“degenerate music”) by the Nazis in a public display in Düsseldorf. The Third Reich and post-war Germany saw Schreker as a decadent outcast, misunderstanding his unique style that combined elements of romanticism, expressionism, impressionism, symbolism, and atonality. This study of Schreker’s Lieder will pursue two goals. First, it will analyze the Mutterlieder (before 1898), the Fünf Gesänge (1909), and the first piece from Vom ewigen Leben (1923) stylistically. Schreker composed nearly four dozen Lieder, incorporating a wide range of styles and ideas. By studying and performing these songs written at various points in his career (including early songs, songs written after he met Schoenberg, and his last songs during the height of his fame), I hope to develop a clearer understanding of how Schreker synthesized the many cultural forces and artistic movements that seem to have influenced his compositional style. Second, this study will consider the sociopolitical circumstances that fueled the disintegration of his reputation. This disintegration occurred not just during the Third Reich, but also afterwards, notably in an often discussed essay by Theodor Adorno. Only in the last thirty years have scholarly voices critical of such rejections of Schreker emerged. My ultimate goal, then, is to join this reevaluation, studying and contextualizing this repertory to develop a new understanding of an oft-neglected chapter in the history of the German Lied.
"Doce Canciones Mexicanas": A Singer's Guide to Manuel M. Ponce's (1882-1948) Romantic Mexican Art Song as Described in His Essay "La Canción Mexicana"
The underrepresentation of Mexican art song has left classical singers with few Spanish-language repertoire options. Currently, the music of Spain dominates this scene and Mexican art song has yet to earn a place in academic curricula and concert halls. Manuel María Ponce (1882-1948) retains an important position in Mexican music. However, Ponce's vocal repertoire—consisting of over 150 songs—remained dormant for many decades after his death due to its misclassification by music aristocrats in Mexico that greatly affected their diffusion. Consequently, few copies were published during Ponce's life, making them difficult to find. The need in the singing community for repertoire of this kind has raised many questions not only about its existence and availability, but also about its origins and relationship to the established Art Song canon. To promote the diffusion of this underrepresented repertoire, a style analysis of Ponce's Romantic Mexican Art Song is offered through the lens of his writings about Mexican Song. The analysis includes vital information about the origins, form, style, and subjects of these songs. Tangible examples of these traits are provided from Ponce's Doce Canciones Mexicanas along with historically-informed suggestions for singers and translations of the text with IPA transcriptions.
Early Music Audiences: A Survey and Analysis of Early Music Consumers in Texas
Texas has a rich tradition of Early Music ensembles that dates back to 1969. However, there is little reliable information based on statistical data collection and analysis concerning Texas Early Music consumers. Little is known about why they attend Early Music performances or other important factors that affect the Early Music industry. Through the use of an extensive survey and accompanying statistical analysis, this study answers many questions regarding Early Music consumers in the State of Texas. This study collected demographic and psychographic data in January 2020 about the Early Music concert-going public in three major Texas cities - Dallas, Austin, and Houston. Other factors were identified in two primary areas: audience characteristics and ticket pricing practices.
Ensemble Singing in the Bel Canto Salon Repertory: A Pedagogical Reconsideration
Vocal duets have had a long history in the Western classical music tradition. Their use as a teaching resource can be traced back to the Renaissance, where duets were used for the development of singing, performance, and musicianship. In the late 19th and all of the 20th centuries, this pathway of vocal pedagogy has markedly declined. This study proposes a reintroduction of this methodology of teaching, asserting that it provides the collegiate vocal student with maximum opportunity for growth and development in terms of technique, musicianship, ensemble skills, and performance development. Four vocal duets ("La pesca," "Il brindisi," "Il gallop," and "La caccia") of Saverio Mercadante (1795-1870) serve as the point of discussion. These songs from Les soirées italiennes (C.1836), which are representative of the salon culture of the 19th century, are given detailed attention through a discussion of their pedagogical value. Since they are long out of print, a new performance edition is presented.
A Guide to Suitable Bass Solo Vocal Repertoire by J. S. Bach for Collegiate Baritone
In the Baroque period, the baritone voice was not yet well-defined, but many composers wrote vocal pieces with a range appropriate for the modern baritone voice. Composers used the general categories of soprano, alto, tenor, and bass for solo voice in their compositions. Johann Sebastian Bach (1685-1750) was no different from other Baroque composers in writing solo works to be performed by one of the four main voice types. The various ranges and tessituras of J. S. Bach's vocal works for bass solo voice are not limited to being sung by low basses, but may also be sung by more medium ranged baritones. The purpose of this research is to guide collegiate voice teachers and their baritone students in selecting appropriate repertoire from the works of Bach on the basis of each students' level of development and to categorize four groups of bass solos by Bach for collegiate baritone students: beginning level for freshmen, intermediate level for sophomores, advanced level for juniors and seniors, and pre-professional level for seniors and graduate students. This research was prepared in conjunction with a DMA lecture-recital of eight bass solos for collegiate baritone voice, selected from the study; two vocal works for each proficiency level.
The Historical and Pedagogical Significance of Excerpts by André-Ernest-Modeste Grétry (1741-1813)
This collection of 9 vocal works, taken from the oœuvre of André-Ernest-Modeste Grétry (1741-1813), was chosen for their utility in teaching undergrad voice majors. This collection offers a group of songs that are attractive in their simplicity allowing the time in their lessons to be devoted to the instruction of French pronunciation. Grétry's attention to detail in the setting of French prosody provides undergraduate singers with a collection of songs that offer an immediate understanding as to the nuances of the French language. With funding from an I-GRO grant through the University of North Texas, research was conducted in the archives of the Bibliothèque nationale de France, and work continued in the Grétry Museum in Liège, Belgium. The primary sources found within these locations formulated valuable insights into to the life and influence of Grétry, and provided first-hand experience with research techniques within foreign libraries. This research has solidified the relationship between Grétry's compositional style and its usefulness within the undergraduate voice studio.
The Ideal of Moral Cosmopolitanism and Human Rights in Edward Manukyan's "A World Without War"
The cantata A World Without War (2009), by Armenian-born composer Edward Manukyan (b. 1981), was written, in part, to support increased awareness of human rights issues. Based on a quote from linguist and philosopher Noam Chomsky (b. 1928), the narrative of the cantata states: "We can, for example, be fairly confident that either there will be a world without war or there won't be a world." In addition to Chomsky's words, the cantata excerpts quotes of two additional literary giants advocating human rights, Bertrand Russell (1872-1970), and Andrei Sakharov (1921-1989). The purpose of this dissertation is to focus attention on human rights activism; using Manukyan's A World Without War, I highlight moral and ethical questions at the center of this work and explain how this cantata embraces the ideal of moral cosmopolitanism. I strongly believe in the importance of human rights for all citizens of the world, and the role music plays in advancing its cause through performance arts.
John La Montaine's "Songs of the Rose of Sharon" and "Fragments from the Song of Songs": A Socio-Historical Analysis and Performer's Guide
The purpose of this research is to examine John La Montaine's only two song cycles for soprano and orchestra, Songs of the Rose of Sharon, opus 6 (1947) and Fragments from the Song of Songs, opus 29 (1959). In this investigation-the first ever specific to these works-I examine the works and cultural context in which they were created. I then evaluate the reasonable possibility that La Montaine used his public platform as a composer and performer to subtly celebrate taboo themes of feminism, sexuality, and blackness while shining a light on human injustice. Through close examination of social and historical context, I argue two points. Firstly, Rose of Sharon and Fragments are landmark American works. They are anomalies in classical music history in that a white male heralds texts about a black woman in an unlikely time in American history, thus arguably becoming an unlikely part of the evolution of African-American women in artistic endeavors. Secondly, in the performance guide, I advocate that these works would readily adapt to a staged performance. I discuss how La Montaine's musical settings illustrate the inherent drama of the text, provide a context for interpreting the protagonist in Rose of Sharon and Fragments, and present an interpretation of how these works could be staged. The ultimate goal of this research is to bring these intricately crafted masterpieces to the attention of singers and voice teachers so that they may assume their rightful place in the repertoire.
Korean Diction for Non-Korean-Speaking Singers: A Study for Singing Korean Art Songs
Korean art songs are valuable cultural assets that exhibit their own cultural spirit and ethnicity, however, they are not introduced to Western singers because of the language barrier. As there are European-language diction books for singers used in pedagogy, this dissertation introduces Korean diction for non-Korean-speaking singers by using the International Phonetic Alphabet (IPA) to pronounce Korean ‘Hangeul'. Moreover, this document aims to help singers enter into a new world of Korean art songs by introducing ten Korean art songs selected from various compositional periods, along with transcriptions using the IPA, transliterations, translations, and the musical scores.
"I Love This Land": A Performance Guide for Six Chinese Art Songs by Zaiyi Lu
English, Italian, French, German, and Russian songs often appear in the repertoire of Western singers, but only a few singers try to sing Chinese songs. Chinese songs have a wealth of musical material uninterrupted for nearly 10,000 years. However, the lack of clear and correct International Phonetic Alphabet (IPA) makes non-Chinese singers confused and unable to pronounce Chinese accurately. In this study, I have used the IPA that singers are familiar with to change the old version of Chinese IPA, which applied many phonetic transcriptions that are not included in the Western phonetic alphabet and even wrong phonetics. The new version Chinese IPA I created solves the problem of the old version. To demonstrate the practicality of this new IPA version, I have then used this revised IPA in six songs by Zaiyi Lu, who is one of the most outstanding contemporary Chinese composers. His vocal music works are among the finest works of contemporary Chinese art songs. I added Chinese pinyin to the song translation, given a performance guide to introduce the songs' background, IPA with word-by-word translation, poetic translation, singing skills, and emotional expression for both singers and pianists. This study developed a useful tool (new version of Chinese IPA) for western singers, introducing Chinese songs to singers worldwide, giving future scholars more ideas, allowing people to feel the charm of East Asian art, and enriching the repertoire.
María Teresa Prieto's "Seis Melodías": An Analysis of Its Historical Background and Text-Music Relationship
Spanish composer María Teresa Prieto (1895-1982) belongs to a group of Spanish exiles who left their country for Mexico as a result of the Spanish Civil War. She arrived in Mexico in 1936 and developed her compositional career in there. Her first composition after her arrival in the new country was the song cycle Seis Melodías, a work that includes six songs with poetry by Ricardo de Alcázar, Juan Ramón Jiménez, Federico García Lorca, and María Teresa Prieto herself. This document analyzes each one of the songs, both musically and poetically, as well as the relationship between music and text. Seis Melodías' structural organization as a cycle is very particular, since Prieto organized the cycle in pairs—namely I and II, III and IV, and V and VI—each group with strong poetic and thematic unity. The songs belonging to this cycle, present the duality of being independent and dependent at the same time, given that each song stands by itself, but together they create a meta-narrative that progresses from hope to desolation, not as a political statement, but as a homage to, as well as a lament, for the Spanish land and freedom. The cyclical nature of this work is accomplished by Prieto through motivic unity, a clear harmonic plan, and poetic relationships between the songs.
Modern Chinese Opera: A Performance Guide to Six Tenor and Baritone Arias from Selected Operas by Lei Lei and Guangnan Shi
With the emergence and development of Chinese opera market, a large number of excellent composers and original Chinese operas have emerged. Responding to the market demand for opera singers, many jobs came into being. The dissertation is used for western male singer who wants to get job opportunities to perform in China. The dissertation discusses three original Chinese operas, each of which features one tenor aria and one baritone aria. The research results in a performance guide for these six Chinese opera arias, in addition to providing detailed pronunciation rules of the Chinese alphabet along with an IPA (International Phonetic Alphabet) guide, a word-for-word translation of each aria, an analysis of vocal skills and difficulties, and some of the physical requirements of the staging.
A Modern Performance Edition of Nina D'Aubigny Von Engelbrunner's Deutsche, Italienische und Französische Gesänge mit Begleitung des Pianoforte
This dissertation examines the work of German composer and vocal pedagogue Nina d'Aubigny von Engelbrunner through her collection of songs entitled "Deutsche, Italienische und Französische Gesänge mit Begleitung des Pianoforte," published in 1797. A brief overview of the life and works of Ms. d'Aubigny is provided, followed by a discussion about the "woman question" as it relates to Ms. d'Aubigny's works. The second part of this project includes a new, modern performance edition of the collection of songs, complete with general editorial guidelines, notes and translations, and a critical report detailing all deviations from the original 1797 edition.
Naples and the Emergence of the Tenor as Hero in Italian Serious Opera
The dwindling supply of castrati created a crisis in the opera world in the early 19th century. Castrati had dominated opera seria throughout the 18th century, but by the early 1800s their numbers were in decline. Impresarios and composers explored two voice types as substitutes for the castrato in male leading roles in serious operas: the contralto and the tenor. The study includes data from 242 serious operas that premiered in Italy between 1800 and 1840, noting the casting of the male leading role for each opera. At least 67 roles were created for contraltos as male heroes between 1800 and 1834. More roles were created for tenors in that period (at least 105), but until 1825 there is no clear preference for tenors over contraltos except in Naples. The Neapolitan preference for tenors is most likely due to the influence of Bourbon Kings who sought to bring Enlightenment values to Naples. After the last castrato retired in 1830 and the casting of contraltos as male heroic leads falls out of favor by the mid-1830s, the tenor, aided by a new chest-voice dominant style of singing, becomes the inheritor of the castrato's former role as leading man in serious Italian opera.
"Para qué recorder": Preserving the Legacy of María Grever through Selected Vocal Compositions for Study and Performance
María Grever (1885-1951) overcame racism and gender bias during a pivotal era in American music history to become the first commercially successful Mexican female composer and more specifically, a pioneer of popular music during the first half of the 20th century. Though named the "Madonna of song," her legacy is largely overshadowed by other compositional giants of the era, such as the Gershwin brothers, Cole Porter, and Irving Berlin. Grever's music is sophisticated, heartfelt, and worthy of attention. Her colorful, genuine music adds distinctiveness and variety to recital programs. Grever's songs offer a high level of musical integrity and socio-cultural value. Incorporating her compositions into a singer's vocal repertoire is an excellent way to broaden the scope of styles and languages while maintaining the highest standards of musical study. The following document considers the importance of performing and studying Grever's music by analyzing nine songs representing three compositional periods. I evaluated the songs considering pedagogical benefit, performance value, and significance to her overall oeuvre.
A Performance Guide for Five Mezzo-Soprano Arias from Chinese Operas
In the West, operas in Czech, English, French, German, Italian, Spanish, and Russian are the best known in collegiate and professional classical music settings. Given the changes in social climate in recent decades, however, attention is being given to the study and performance of under-represented minorities. There have been operas composed in the West on Asian topics, but one does not yet hear operas in Asian languages programmed as part of a regular season in major opera houses in the United States. The challenge for Western singers is threefold: access to the music, reading and pronouncing the language, and understanding the nuance of the rich Chinese culture in the libretto. This study presents the following five arias: "We Have to Be Apart," from The Dawns Here Are Quiet (这里的黎明静悄悄) by Tang Jianping; "The Daughter of Yimeng" and "Milk, Tears and Blood," from The Mountain of Yimeng (沂蒙山) by Luan Kai; "Forgetting Everything While Turning," from Saying Goodbye to Cambridge Again (再别康桥) by Zhou Xue Shi; and "Lullaby," from the opera The Orphan of Zhao (赵氏孤儿) by Lei Lei. It includes a brief biographical introduction to the composer and librettist for each opera, a synopsis of the plot, a description of the character singing the aria, transcriptions and romanizations of the text, IPA, word-by-word and poetic translations, translations of all musical directions in the score written only in Chinese, explanations of the cultural context, and vocal recommendations for performance. The purpose of the current dissertation is to study five arias for mezzo-soprano from Chinese operas with a view to making them accessible to Western singers.
A Performance Guide to Eight Chinese Songs and Arias: Selected Repertoire for Soprano Voice
Over the past century, the widespread popularity of Western art music, in particular that of the standard operatic repertoire, has gradually expanded the development of opera in China. In order to bolster a broad range of classical music genres and help promote the development of Chinese opera, opera houses and opera companies have been built in several major Chinese cities. Moreover, a series of first-rate international vocal competitions have been established to promote original Chinese operas and art songs. Nonetheless, performing this modern repertoire can represent a novel and demanding experience for both Chinese and non-Chinese speaking singers. This dissertation examines eight representative works of Chinese music: four arias and four art songs for soprano. These pieces challenge the singer both in terms of their musical style and their singing techniques. The purpose of this study is therefore to provide a detailed performance guide for sopranos that can assist them to successfully perform these works. In addition, this research will supply relevant background information on the selected compositions, an overview of their historical significance, the origin of the source poem or drama, and acquaint the reader with the key features of the main characters. Furthermore, to better understand the original Chinese Pin Yin characters, the International Phonetic Alphabet is provided, as well as the corresponding English translation and transliteration in the musical scores. The dissertation also incorporates stylistic analyses, as well as an assessment of the vocal demands and singing techniques that appear in all eight pieces. This information has the purpose of helping the performer attain a more accurate rendition of these works. In turn, this study may be used as a research model for future studies of Chinese vocal art music.
Perseverance in the Face of Totalitarianism: The Life and Legacy of Józef Zygmunt Szulc in Nazi Occupied France
The Reichsleiter Rosenberg Task Force of 1940, initiated a systematic confiscation of items belonging to Jews throughout Europe. Because of this task force and Hitler's decrees, Jews across Europe were labeled as stateless, and were stripped of ownership and rights to property. Not only did these actions devastate Jews economically, but intellectually and artistically as well. In parts of occupied France, this task force was legitimized by Vichy laws under the label of the Commissariat Générale aux Questions Juives (General Commission for Jewish Issues) and enabled Nazi officials to closely watch Jewish musicians and stop them from performing their music, profiting from anyone else performing it, and to halt any public performance of Jewish compositions. This dissertation exhibits the lost legacy of one such Jewish musician, Józef Szulc. It discusses him as a musician of great importance in the ongoing recovery of Jewish culture, music, and life during World War II. His musical output has historical notoriety, as seen through reviews and performance history. The study of Vichy laws and their effect on Jewish musicians in Paris during the Nazi occupation provides the socio-political context for Szulc's life. It also provides the most plausible reason why his contribution to French vocal music was almost entirely lost. Szulc's success with his operetta compositions created a trajectory of performances that lasted well into the late 1920s and early 1930s.
"Pieces of 9/11: Memories from Houston" by Jake Heggie: A Performance Guide
Jack Heggie's 2011 song cycle Pieces of 9/11: Memories from Houston is a collection of six songs with texts by Gene Scheer. Commissioned by the Houston Grand Opera, it was premiered on September 11, 2011 at the Rothko Chapel in Houston, TX. Based on interviews with people from Houston by Gene Scheer, this cycle tells stories and experiences by those affected by the September 11, 2001 terrorist attacks on the World Trade Center in New York City, The Pentagon in Washington DC, and those aboard United Flight 93 that crashed in Shanksville, Pennsylvania. Scheer's acclaimed storytelling in each song is beautifully set to varying styles of music composed by Heggie, with the familiar theme from Bach's Cello Suite No. 1 in G Major, BWV 1007 woven throughout the cycle. This document is an in-depth look at the cycle to be used by vocal coaches and singers in their preparation and performance. The first introductory chapter is followed by a chapter detailing the song cycle from concept to fruition. The third chapter concentrates on the uses of Bach's Cello Suite No. 1 in G Major, BWV 1007. The fourth chapter discusses the six individual songs first by discussing the background of each text, then an analysis of the music, and concluding with the relevance to 9/11. Chapter 5 includes performance notes, gathered from interviews with Heggie, Scheer, and one of the girl sopranos, Ashley Traughber. Appendices include a timeline of events on 9/11, the three interviews, a chronology of Jake Heggie's vocal works to date, and the author's personal 9/11 story as I was just a few blocks away from the World Trade Center on 9/11.
The Recorded Legacy of Enrico Caruso and its Influence on the Italian Vocal Tradition
This dissertation presents evidence for the influence which tenor Enrico Caruso had on the Italian Vocal Tradition. This impact was clearly boosted by the revolution realized in the fledgling recording industry, and the recordable disc. In the years of 1902-1920 gramophones became commonplace, and collecting recordings became an interest for many. This new technology required specialized skills, and was especially suited to certain qualities of voice. Caruso enjoyed immense success in this medium, in recording over 250 records. Italian vocal style at the turn of the century was changing, and Caruso employed a new "modern" style in his singing. His interpretive decisions, vocal method, and repertoire which he championed had an impact on the vocal tradition of future generations. Comparison of his recordings with tenors Fernando de Lucia, Giuseppe Anselmi, and Alessandro Bonci shows a marked contrast in styles of "the old school" and Caruso's "more straightforward" approach. A collection of historical documents for those who succeeded him include many biographies, reviews, and quotes to demonstrate the extent of his influence. Recordings also show a movement toward "the Caruso Sound." Jussi Bjoerling, Franco Corelli, Richard Tucker, Mario Lanza, and Luciano Pavarotti were all influenced by the great Caruso. Almost 100 years have passed since he sang his last performance. He continues to inspire singers to this day, through his recordings and legacy passed on by many generations. He is the ideal, the measuring stick for all tenors to follow, and continues even to today.
Selected Art Songs of Chinese Composer Huang Zi: Music, Poetry, and Social-Historical Considerations
This dissertation examines the contributions of the early twentieth-century Chinese composer Huang Zi to the genre of Chinese art songs. It discusses how he combined Western compositional techniques with traditional Chinese music and ancient or contemporary Chinese poetry, focusing on his works 花非花 Flowers in the Mist, 点绛唇, 赋登楼 Ode to Ascending the Tower, 思乡 Missing Homelands, and 春思曲 Spring Nostalgia. Huang's songs, which created a bridge between East and West, are still significant today in China and deserve performance in the West, too. Translations and a phonetic guide to the four songs are provided so that Western singers have the tools they need to perform these songs.
Selected Songs of Ian Venables as Influenced by Ivor Gurney: An Historical Musicology Analysis
The purpose of this study is to draw attention to the importance of Ian Venables' art songs that are based on Ivor Gurney's poems. In this study, I analyze and evaluate Gurney's poetry and how Venables' compositional style seems to have been influenced by Gurney's musical style in the setting of Gurney's poems. It is noteworthy that Ivor Gurney's poems were not just written as songs by little-known composers, but by others such as Gerald Finzi and Ian Venables, both of whom can be considered leaders in their field in their own time. Therefore, even though there is not a plethora of songs based on Gurney's poetry, the quality of those poems has attracted the attention of composers who know art songs deeply. First, my research contributes valuable contextual information to the study of the six featured songs, all based on poems by Ivor Gurney. Each poem can be traced back to a specific time in Gurney's life, reflecting his various societal positions and physical and mental conditions. By analyzing Gurney's experiences and apparent state of mind during the period he wrote each poem, I establish a historical context for these selected poems, which serve as an essential starting point for meaningful analysis and study of the related songs. Second, British composer Ian Venables' fame and performances of his art songs have primarily remained in England. Beyond contributing to scholarly research on Ivor Gurney's influence on Ian Venables, I intend to promote and facilitate further research into Venables' art songs. Finally, my research will expand the scope of how Ian Venables' songs are known, thus making his art songs more accessible and performable to a broader audience.
"Seven Songs to Poems of James Joyce," op. 54 (1926) by Karol Szymaowski: A Historical Musicology Analysis and Performance Guide
This research contributes valuable contextual information to the study of Karol Szymanowski's little-known song cycle Seven Songs to Poems of James Joyce, op. 54 (1926), providing a reliable, comprehensive reference for singers and scholars. In this research, I establish separate historical contexts for James Joyce's Chamber Music and Szymanowski's settings of the poems in op. 54. Using these established historical contexts, I then analyze Joyce's poems and Szymanowski's text settings, focusing on their styles and aesthetics. Szymanowski reorders the seven selected poems, creating a new storyline related to—but different from—the original. Where Chamber Music presents a chronological emotional arc, Seven Songs presents a roller coaster-like storyline, achieved by flashing back and forth between the protagonist's past and present. I demonstrate how Szymanowski's newly-created, complex storyline fits both the surface and deeper meanings of each poem, using specific musical elements to enhance emotional conflicts in the texts. I conclude with a detailed analysis of the relationship between the text and music of this song cycle, serving as a performance guide. I hope that my analysis and complete performance of this cycle will reignite interest in Szymanowski's music outside of Poland, especially in countries where English is the native language.
The Shrinking Opera Diva: The Impact of Sociocultural Changes upon the Casting of Women in the 20th and 21st Centuries
For most of the twentieth century, opera singers were not beholden to the ideal physical standard of women dictated by popular culture, but rather focused on serving the music and perfecting their artistry. Unprecedented sociocultural changes throughout the twentieth century exposed the shifting ideals of each generation and how they were promoted through mass media and advertising. This thesis surveys the time period of the 1890s to the present day for the purpose of analyzing cultural trends, philosophies and technologies that shaped the century. Societal pressure to make the body a project and the focus of one's own intense attention now reflects back onto the opera stage where audience members expect to see what society has dictated to be an acceptable female form. Artistic and stage directors are influenced by society's decree that only thin is beautiful, imbedding into the mindset of the art form notions that now affect how female professional opera singers are depicted and even employed.
Sociocultural Considerations and the Parallel Agendas of Music and Text in the Lullaby
This research is an investigation of how the lullaby, which is often viewed as purely a simple and pretty song, is a multifaceted vocal tradition that carries historical and cultural significance. As an exploration of how sociocultural factors impact the emotions expressed and the stories told in lullabies, this research encourages deeper examinations of lullaby texts in relation to the historical, cultural, and social aspects reflected in their textual themes. Through the close analysis of text and music of folk and art song lullabies, I propose that the lullaby's function extends beyond putting a baby to sleep; the further roles of the lullaby encompass cultural connections and therapeutic functions for both the parent and child. As a result of these sociocultural considerations, dialogue exists between the lullaby text and its music that do not always match the song's primary intent to provide peace and comfort.
Spanish Diction in Latin American Art Song: Variant Lyric Pronunciations of (s), (ll), and (y)
Latin American art song is a genre primarily of the first half of the twentieth-century, when popular folklore served as the voice and inspiration of many poets and musicians. The nationalist movement served as a means of expression, each Latin American country with its own identity. There is great benefit for singers to study Spanish diction at an academic level, since it is a language already familiar to most U.S.A residents. There is a significant amount of unknown repertoire that would be very useful in the singing studio because of the language's open vowels. This repertoire can also serve as a confidence-builder to young Spanish-speaking singers at the beginning of their training. I will be focusing on the (s), (ll), and (y) sounds as pronounced in the diverse regions of Latin America; in particular, why they matter when coaching singers, and the articulators involved in each. The purpose of this study is to discuss diction differences in the repertoire, expound on its benefits for voice pedagogy, all while informing about varied options for recital programming.
Straw Phonation in the Private Voice Studio: The Effects of a Straw Phonation Protocol on Student Perceptions of Voice over Time
Straw phonation is a semi-occluded vocal tract exercise (SOVTE) that has long been used as a therapeutic device for the voice. The purpose of this study was to compare outcomes following voice lessons that included a straw phonation protocol to those that did not include a protocol. The primary outcome measures were the shortened version of the Singing Voice Handicap Index (SVHI-10), which is a validated health status instrument for singers, and Perceived Vocal Efficiency (PVE). Ten student singers in a large college of music consented into the study and participated in both lesson conditions, serving as their own control. They completed six voice lessons over a six week period with lessons alternating between the straw phonation protocol and no straw phonation protocol conditions. Outcome measures were collected following all six lessons. Repeated measures one-way analysis of variance (RM-ANOVA) revealed no statistically significant effect of the straw phonation protocol on either dependent variable. However, a small effect was found for PVE, indicating that straw phonation led to a perceived improvement in vocal efficiency. There was significant variation in individual responses to straw phonation and participants who had more prior experience with the SOVT experienced less perceptual change across lesson conditions. Most singers reported finding straw phonation a useful addition to their voice lesson and felt it improved their vocal efficiency. These results indicate that straw phonation could be regularly integrated into voice lessons and may be most helpful to students who find the SOVTE worthwhile. Future studies should examine the effects of a similar protocol using multiple SOVTEs, tailored to what is most efficacious for individuals, and should use a separate control group.
A Survey of 21st Century Gay-Themed American Art Songs for Baritone
The majority of repertoire catalogs for singers, printed and digital, often list works by voice type, language, and/or genre. The 21st century has seen an emergence of online classical music catalogs where the user can seek repertoire by searching composers from underrepresented communities (i.e., women, Black, LGBTQ, Latinx). What does not currently exist is a resource that catalogs songs for solo voice dealing specifically with gay subject matter. This dissertation surveys seventeen 21st century gay-themed art songs by four living American composers: David Del Tredici, Ben Moore, Clint Borzoni, and Gary Schocker. Each chapter introduces a different composer and a select representation of their gay-themed art songs. Each entry includes text analysis based on the composer's and author's intentions and a brief analysis to determine pedagogical and musical difficulty. It is my intent that this document will facilitate a much-needed resource and encourage further study, promotion, and performance of voice works with gay themes. Moreover, I hope that it will serve as a tool for the applied voice teacher to assist in the vocal and artistic development of their students through broader repertoire choices.
Training the Hybrid Singer: Mixed Voice for the Bel Canto and Musical Theatre Singer
Voice teachers can train versatile singers by infusing musical theatre technique within bel canto evidence-based pedagogy. Seeing these two genres as possessing similarities instead of as unrelated fields allows teachers to not only match academic knowledge with the current entertainment job market, but most importantly, possess a versatile technique allowing them to train singers to perform fluently in multiple styles: the hybrid singer. An area of confusion in both bel canto and musical theatre training is mixed registration. This dissertation uses historic pedagogical texts and contemporary writings on mixed registration to understand laryngeal and acoustical events of the treble voice. The relationship between the two modes of voice production and musical theatre timbral acoustics ("legit" head voice, traditional belt, contemporary chest-mix, contemporary head-mix) is discussed with applicable tools for voice teachers training versatile singers.
Understanding the Lirico-Spinto Soprano Voice through the Repertoire of Giovane Scuola Composers
As lirico-spinto soprano commonly indicates a soprano with a heavier voice than lyric soprano and a lighter voice than dramatic soprano, there are many problems in the assessment of the voice type. Lirico-spinto soprano is characterized differently by various scholars and sources offer contrasting and insufficient definitions. It is commonly understood as a pushed voice, as many interpret spingere as ‘to push.' This dissertation shows that the meaning of spingere does not mean pushed in this context, but extended, thus making the voice type a hybrid of lyric soprano voice type that has qualities of extended temperament, timbre, color, and volume. This dissertation indicates that the lack of published anthologies on lirico-spinto soprano arias is a significant reason for the insufficient understanding of the lirico-spinto soprano voice. The post-Verdi Italian group of composers, giovane scuola, composed operas that required lirico-spinto soprano voices. These giovane scuola composers include Alfredo Catalani (1854 –1893), Umberto Giordano (1867 –1948), Pietro Mascagni (1863 –1945), Giacomo Puccini (1858 –1924), and Riccardo Zandonai (1883 –1944). Descriptions of the soprano voices that premiered these roles are included in this document to determine the suitability of the lirico-spinto soprano voice for each role.
The Use of Classic Musical Theatre Repertoire for Training Bel Canto Techniques in the Undergraduate Baritone Voice
For applied teachers of the bel canto method of singing, classical musical theatre repertoire provides an abundant resource of material for teaching the undergraduate baritone voice. Select classic musical theatre repertoire, fitting within the parameters of suitable range, tessitura, duration, and thematic material for an undergraduate baritone, will be used to demonstrate the application of bel canto techniques such as: glottal onsets, the connection between the speaking voice and singing voice, suitable vowels in building the upper range, and teaching sostenuto and legato. This dissertation serves as a guide for teaching sound vocalism through classic musical theatre repertoire.
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