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Technique for the Developing Dramatic Soprano

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Technique for the Developing Dramatic Soprano The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 12-1-2018 Technique for the Developing Dramatic Soprano Amber James University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Fine Arts Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation James, Amber, "Technique for the Developing Dramatic Soprano" (2018). Dissertations. 1576. https://aquila.usm.edu/dissertations/1576 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. Technique for the Developing Dramatic Soprano by Amber James A Dissertation Submitted to the Graduate School, the College of “Arts and Letters” and the School of “Music” at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Maryann Kyle, Committee Chair Dr. Susan Ruggiero-Mezzadri Dr. Jonathan Yarrington Dr. Edward Hafer Dr. Douglas Rust ____________________ ____________________ ____________________ Dr. Maryann Kyle Dr. Richard Kravchak Dr. Karen S. Coats Committee Chair Department Chair Dean of the Graduate School December 2018 COPYRIGHT BY Amber James 2018 Published by the Graduate School ABSTRACT This dissertation was inspired by a Facebook post by David L. Jones regarding common pedagogical problems in the dramatic soprano Fach. I am a dramatic soprano, who has dealt with many of the technical problems listed in his post. David L. Jones is an internationally recognized teacher and coach and has worked with some of the most well- known professional dramatic sopranos. After considering these pedagogical challenges, it was decided the best course of action was to interview professional singers, teachers, and coaches in the dramatic soprano Fach. After conducting a state of research, it was found that there was not an overwhelming amount of research specifically related to the training of dramatic sopranos. The following document is meant to be a guide for voice professionals in navigating the pedagogical problems often found in the dramatic soprano Fach, as well as offering solutions to these technical problems. Section I contains the introduction and topics include the method of research, credentials of each interviewee, types of dramatic sopranos, information related to the European Fach system, challenges in teaching dramatic sopranos, and specialized training considerations. Section II encompasses the main body of the paper specifically addressing pedagogical problems and solutions. Information concerning breathing, registration, and interpretation tools are addressed. Section III offers a brief conclusion with advice from professional singers from the past and present. The document contains three appendices, which include full transcriptions of the interviews, a performer’s guide to music specifically aimed towards dramatic sopranos, and the IRB approval letter. ii ACKNOWLEDGMENTS I would like to thank Dr. Maryann Kyle, chair of my committee, advisor, voice mentor, and constant encourager. It has been my honor to work with you during this degree and I am eternally grateful for your investment in my life. I would also like to thank Dr. Jay Dean for the opportunities to better my skills on the stage and in the office. I learned a wealth of information while working alongside you in an administrative capacity with Mississippi Opera, the Natchez Festival of Music, and as the artist liaison for Deborah Voigt. I would also like to thank my committee members, Dr. Edward Hafer, Dr. Douglas Rust, Dr. Susan Ruggiero, and Dr. Jonathan Yarrington, for your encouragement and feedback during this process. I would like to extend a special thanks to each of my interviewees for their time and willingness to share their expertise. These experts include Deborah Voigt, Susan Bullock, Abigail Dyer, Johanna Meier, Marjorie Owens, Jane Eaglen, Rachel Willis-Sørensen, Christine Goerke, Rebecca Teem, Victoria Livengood, Sherman Lowe, David L. Jones, Richard Nechamkin, Michael Strauss, Ellen Rissinger, Arlene Shrut, and Josh Greene. Finally, I would like to express my sincerest gratitude to my mother, Rebecca James, for her endless hours of interview transcription and editing. I would not have been able to produce this document without your help! iii DEDICATION This document is dedicated to my loving family. Mom, you have always been my biggest cheerleader. You have inspired me to achieve my dreams and have shown your love and support throughout this entire process. Dad, you have always taught me that I could do anything I wanted to do. You have been there as an emotional and financial support through years of music lessons and my pursuit of singing professionally. Both of you have inspired me to be self-motivated and to seek God’s will for my life no matter the circumstances. Matt, you have been the most supportive brother and you have always encouraged me to be the best I can be. Support from you and Megan here at the end of this journey is extremely appreciated. I would be remiss if I did not mention the teachers, mentors, and friends who have directly benefited my journey. To Jean Pollard, my first piano teacher, for showing me the best way to grow my gifts as a young musician. To Carolyn Salter, my elementary, middle, and high school chorus teacher, for giving me opportunities to perform as a singer and pianist. To Dr. Melanie Rowell, my first college voice teacher, and her husband, Scott, for being the best friends and supporters anyone could ever dream of having. To Jane Dill, my college piano teacher, for giving me countless opportunities to grow and share my gifts with others. To Dr. Don Campbell, my college choral professor, who believed in me from the beginning and instilled in me a thirst for knowledge. To Dr. Gregory Broughton, my voice teacher at the University of Georgia, for presenting me with concepts to push my growth and challenge my spiritual development. And finally, to my current voice teacher, Victoria Livengood, for helping me reach my fullest potential with each and every lesson. iv TABLE OF CONTENTS ABSTRACT ........................................................................................................................ ii ACKNOWLEDGMENTS ................................................................................................. iii DEDICATION ................................................................................................................... iv CHAPTER I – INTRODUCTION ...................................................................................... 1 Personal Experience .................................................................................................... 1 Method of Research .................................................................................................... 3 Singing Experts ....................................................................................................... 3 Teaching Experts .................................................................................................... 6 Coaching Experts .................................................................................................... 7 Types of Dramatic Sopranos ....................................................................................... 8 The Fach System ...................................................................................................... 10 Challenges in Teaching Dramatic Sopranos ............................................................. 16 Specialized Training ................................................................................................. 18 CHAPTER II - PEDAGOGY ........................................................................................... 20 Artistry ...................................................................................................................... 22 Laryngeal Position .................................................................................................... 22 Jaw and Tongue ........................................................................................................ 24 Jaw ........................................................................................................................ 25 Tongue .................................................................................................................. 26 v Breathing ................................................................................................................... 28 Breath Management .............................................................................................. 28 Onset ......................................................................................................................... 33 Resonance ................................................................................................................. 34 Registration ............................................................................................................... 36 Chest Register ....................................................................................................... 39 Middle Register ..................................................................................................... 40 Head Voice...........................................................................................................
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