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Voice Dysphoria and the Transgender and Genderqueer Singer
What the Fach? Voice Dysphoria and the Transgender and Genderqueer Singer Loraine Sims, DMA, Associate Professor, Edith Killgore Kirkpatrick Professor of Voice, LSU 2018 NATS National Conference Las Vegas Introduction One size does not fit all! Trans Singers are individuals. There are several options for the singing voice. Trans woman (AMAB, MtF, M2F, or trans feminine) may prefer she/her/hers o May sing with baritone or tenor voice (with or without voice dysphoria) o May sing head voice and label as soprano or mezzo Trans man (AFAB, FtM, F2M, or trans masculine) may prefer he/him/his o No Testosterone – Probably sings mezzo soprano or soprano (with or without voice dysphoria) o After Testosterone – May sing tenor or baritone or countertenor Third Gender or Gender Fluid (Non-binary or Genderqueer) – prefers non-binary pronouns they/them/their or something else (You must ask!) o May sing with any voice type (with or without voice dysphoria) Creating a Gender Neutral Learning Environment Gender and sex are not synonymous terms. Cisgender means that your assigned sex at birth is in agreement with your internal feeling about your own gender. Transgender means that there is disagreement between the sex you were assigned at birth and your internal gender identity. There is also a difference between your gender identity and your gender expression. Many other terms fall under the trans umbrella: Non-binary, gender fluid, genderqueer, and agender, etc. Remember that pronouns matter. Never assume. The best way to know what pronouns someone prefers for themselves is to ask. In addition to she/her/hers and he/him/his, it is perfectly acceptable to use they/them/their for a single individual if that is what they prefer. -
Developing the Young Dramatic Soprano Voice Ages 15-22 Is Approved in Partial Fulfillment of the Requirements for the Degree Of
DEVELOPING THE YOUNG DRAMATIC SOPRANO VOICE AGES 15-22 By Monica Ariane Williams Bachelor of Arts – Vocal Arts University of Southern California 1993 Master of Music – Vocal Arts University of Southern California 1995 A dissertation submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts The Graduate College University of Nevada, Las Vegas December 2020 Copyright 2021 Monica Ariane Williams All Rights Reserved Dissertation Approval The Graduate College The University of Nevada, Las Vegas November 30, 2020 This dissertation prepared by Monica Ariane Williams entitled Developing the Young Dramatic Soprano Voice Ages 15-22 is approved in partial fulfillment of the requirements for the degree of Doctor of Musical Arts School of Music Alfonse Anderson, DMA. Kathryn Hausbeck Korgan, Ph.D. Examination Committee Chair Graduate College Dean Linda Lister, DMA. Examination Committee Member David Weiller, MM. Examination Committee Member Dean Gronemeier, DMA, JD. Examination Committee Member Joe Bynum, MFA. Graduate College Faculty Representative ii ABSTRACT This doctoral dissertation provides information on how to develop the young dramatic soprano, specifically through more concentrated focus on the breath. Proper breathing is considered the single most important skill a singer will learn, but its methodology continues to mystify multitudes of singers and voice teachers. Voice professionals often write treatises with a chapter or two devoted to breathing, whose explanations are extremely varied, complex or vague. Young dramatic sopranos, whose voices are unwieldy and take longer to develop are at a particular disadvantage for absorbing a solid vocal technique. First, a description, classification and brief history of the young dramatic soprano is discussed along with a retracing of breath methodologies relevant to the young dramatic soprano’s development. -
Composing for Classical Voice Voice Types/Fach System
Composing for Classical Voice Alexandra Smither A healthy relationship between composer and singer is essential for the creation of new song. Like all good relationships, communication is key. Through this brief talk, I hope to give you some tools, some language you can use as common ground when working together. Remember, we are all individuals with insecurities and vulnerabilities and our art made together should lean on strengths. Being in the room with someone means they are making themselves available to you: this goes both ways, so do what you can to elevate them in the way that they see fit. Composers, remember that to be a singer is to be an athlete. If we are protective of our voices, it’s because we are only given one and it is very delicate. Additionally, the opera world is not kind. Many singers are constantly dealing with rejection and commentary, not just on how they sound, but on how they look and who they are. Remember this, be compassionate, choose your words wisely and kindly. Your singer will appreciate it and will sing all the better for it. Singers, take the time to think about your voice and singing. What do you love to sing? What sounds do you like, even outside singing? How does your voice work? Share this information joyfully and without shame - the music being written will reflect it more the more you talk about it. Be willing to try things in ways that are healthy and sustainable for your body. Embrace your individual identity as singer, person, and artist. -
Guide to Your Career
Guide to Your Career Your Career Development Is In Your Hands _________________________________________________________________________________ NEUE STIMMEN Bertelsmann Stiftung Carl-Bertelsmann-Straße 256 | 33311 Gütersloh Phone: +49 (0) 52 41-81 – 81171 E-Mail: [email protected] NEUE STIMMEN | How to manage your own career! 1 1. How to manage your career Introduction Welcome! You are an up-and-coming performer looking for ways to manage the next steps of your career? This brochure has been put together to give you some tips and resource lists as well as aspects to think about as you move forward. As you have probably already found out, the days of singing well, doing a few auditions, getting a job and then an engagement without much more effort, are over. Competition on all levels has increased, the number of traditional engagements at opera houses and concert halls has gone down. On the other hand, there are more opportunities in other areas and we want to show you where to look. Artistic profile Let’s start, however, with a look at your very own artistic profile – what makes you unique. It helps to think of yourself in the third person in order to be objective. You may want to take a good photo of yourself and simply describe what you see and then add your vocal and individual qualities. Mind mapping is a very useful tool for doing this. Are you tall or short, how do you describe your own voice – quite apart from your Fach – husky, clear, sexy. What do you feel most comfortable doing – singing, acting, dancing, playing a dramatic role, being a clown, or maybe a combination of all these? The combination of all these factors is YOU – your very own unique selling point (USP) and brand. -
An Analysis and Discussion of Zwischenfach Voices by Jennifer
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ASU Digital Repository An Analysis and Discussion of Zwischenfach Voices by Jennifer Allen A Research Paper Presented in Partial Fulfillment of the Requirements of the Degree Doctor of Musical Arts Approved April 2012 by the Graduate Supervisory Committee: Carole FitzPatrick, Co-Chair Kay Norton, Co-Chair Dale Dreyfoos Russell Ryan Robert Barefield ARIZONA STATE UNIVERSITY May 2012 ABSTRACT Zwischen in the German language means ‘between,’ and over the past century, as operatic voices have evolved in both range and size, the voice classification of Zwischenfach has become much more relevant – particularly to the female voice. Identifying whether nineteenth century composers recognized the growing opportunities for vocal drama, size, and range in singers and therefore wrote roles for ‘between’ singers; or conversely whether, singers began to challenge and develop their voices to sing the new influx of romantic, verismo and grand repertoire is difficult to determine. Whichever the case, teachers and students should not be surprised about the existence of this nebulous Fach. A clear and concise definition of the word Fach for the purpose of this paper is as follows: a specific voice classification. Zwischenfach is an important topic because young singers are often confused and over-eager to self-label due to the discipline’s excessive labeling of Fachs. Rushing to categorize a young voice ultimately leads to misperceptions. To address some of the confusion, this paper briefly explores surveys of the pedagogy and history of the Fach system. To gain insights into the relevance of Zwischenfach in today’s marketplace, I developed with my advisors, colleagues and students a set of subjects willing to fill out questionnaires. -
The Evolution of the Heldentenor
THE EVOLUTION OF THE HELDENTENOR : SIEGMUND, GRIMES, SAMSON, AND OTELLO by JAMES HENRY SEAY, III SUSAN CURTIS FLEMING, COMMITTEE CHAIR PAUL H. HOUGHTALING STEPHEN V. PELES LINDA PAGE CUMMINS AMANDA W. PENICK ELIZABETH S. AVERSA A DMA MANUSCRIPT Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the School of Music in the Graduate School of The University of Alabama TUSCALOOSA, ALABAMA 2014 Copyright James Henry Seay, III 2014 ALL RIGHTS RESERVED ABSTRACT The purpose of this manuscript is to set into context a recital which highlights the attributes of the Heldentenor. The recital was held on 11 March 2014 and was comprised of operatic excerpts from Wagner’s Die Walk üre (1870), Saints-Sa ëns’ Samson et Dalila (1877) , Britten’s Peter Grimes (1945), and Verdi’s Otello (1887). All four of these operas have become mainstays in the repertoire of the Heldentenor . The program from the recital appears in the appendix at the end of this manuscript, and the program includes translations of the operatic excerpts and the text of spoken introductions that were read as part of the recital. Since the mid-nineteenth century, the Heldentenor voice classification has played an integral role in popular opera theater. The origin of the Heldentenor classification can be traced back to the abrupt change in the performance practice of the upper register of the tenor voice with the now famous performance of the full-throated, chest high Cs in Rossini’s Guillame Tell sung by Gilbert-Louis Duprez (1806-1896) at the national opera in Paris in 1837.1 As the technique involving the upper register of the tenor voice changed, the vocal and dramatic demands placed on the voice type increased. -
Copyright by Brian James Watson 2005
Copyright by Brian James Watson 2005 The Treatise Committee for Brian James Watson certifies that this is the approved version of the following treatise: Wagner’s Heldentenors: Uncovering the Myths Committee: K. M. Knittel, Supervisor William Lewis, Co-Supervisor Rose A. Taylor Michael C. Tusa John Weinstock Darlene Wiley Wagner’s Heldentenors: Uncovering the Myths by Brian James Watson, B.A., M.M. Treatise Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin August 2005 Acknowledgements This treatise would not have been possible without the assistance and encouragement of several people whom I would like to thank. First and foremost, I would like to thank Dr. K. M. Knittel for her careful supervision. Her advice and guidance helped shape this project and I am very grateful for her participation. I would also like to thank my co-supervisor, William Lewis, whose encouragement has been instrumental to my academic career. His singing helped stir my interest in Heldentenors. I am also grateful for the support of Darlene Wiley. Without her, my knowledge of vocal pedagogy would be quite limited. Rose Taylor should also be thanked for her positive attitude and encouragement. The other members of my committee should also be recognized. I want to thank Dr. Michael C. Tusa, for his participation on this committee and for his assistance in finding sources, and Dr. John Weinstock, for being a part of this committee. I would be remiss if I did not also thank my family, primarily my father for his understanding and sympathy. -
The Baritone to Tenor Transition
The University of Southern Mississippi The Aquila Digital Community Dissertations Fall 2018 The Baritone to Tenor Transition John White University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Pedagogy Commons, and the Music Performance Commons Recommended Citation White, John, "The Baritone to Tenor Transition" (2018). Dissertations. 1586. https://aquila.usm.edu/dissertations/1586 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]. THE TENOR TO BARITONE TRANSITION by John Charles White A Dissertation Submitted to the Graduate School, the College of Arts and Sciences 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. J. Taylor Hightower, Committee Chair Dr. Kimberley Davis Dr. Jonathan Yarrington Dr. Edward Hafer Dr. Joseph Brumbeloe ____________________ ____________________ ____________________ Dr. J. Taylor Hightower Dr. Richard Kravchak Dr. Karen S. Coats Committee Chair Director of School Dean of the Graduate School December 2018 COPYRIGHT BY John Charles White 2018 Published by the Graduate School ABSTRACT Many notable opera singers have been virtuosic tenors; Franco Corelli, Plácido Domingo, James King, José Carreras, Ramón Vinay, Jon Vickers, and Carlo Bergonzi. Besides being great tenors, each of these singers share the fact that they transitioned from baritone to tenor. Perhaps nothing is more destructive to the confidence of a singer than to have his vocal identity or voice type challenged. -
Magical Night
REVIEWS Performances Magical Night Royal Opera House London Premiere: 9 December 2011 There were many admirable aspects to the Royal Opera House’s presentation of Weill’s ballet-pantomime, which was premiered in Berlin in 1922. This was the first performance in the UK. There was no skimping on the staging in the ROH’s Linbury Studio The- atre—the budget was generous, the designs intricate, the produc- tion lively and complex. There were 29 performances during the Christmas season given in mornings, afternoons and evenings— the afternoon performance I attended on 10 December 2011 was packed with children and their mothers. The press reaction was also very encouraging. All the London papers carried reviews, the majority of them initially focusing on the music, as well they might. The one undeniable The Witch forces the Toy Fairy back into the toy box. success of the venture was the outstanding playing of the band of TRISTRAM KENTON PHOTO: ten under the baton of James Holmes, always sympathetic to the composer’s varying idioms—witness his memorable leadership (now a dancer), and played games with the awakened children. of Der Kuhhandel and One Touch of Venus for Opera North in To judge from some audience restlessness—myself included— recent years. In this studio theatre the sound was ideally crisp and the narrative was less than clear, and it was no help that the pungent, with the impulsive rhythmic precision pointing most Fairy (Yvette Bonner), whose song has to propel the story, sang clearly to the more mature Weill. virtually wordlessly. What was she telling us, or should she have The excellence of the musical performance gave admirers of been telling us? Three footballers joined in, briefly, and a deep-sea the composer much food for thought. -
Charles Armstrong 24 October 2012 Linguistics Research Thesis Advisor: Prof
Charles Armstrong 24 October 2012 Linguistics Research Thesis Advisor: Prof. Aaron Dinkin Vox Evocative: Pinpointing a possible sociological strategy for the typing of the phonatory and articulatory features of a singing genre Introduction The human singing voice. Discrepancies in the quantification and description of the work of our vocal cords offer a seemingly eternal source of academic discord. Despite the ubiquity of familiarity with singing voices, scientists and listeners alike seem to still perpetuate these massive discrepancies over the shared experience of listening to singing voices. One might expect a phenomenon almost as accessible as observing the blueness of the sky to have a consensual academic explanation. However, despite the amount of attention paid to the phenomenon of human singing by scientists and listeners around the world, much discordance and attention remains over how to describe and quantify this experience. Maybe this aforementioned academic conflict over quantitative and qualitative evaluations of the singing voice owes to the sheer acoustic diversity of human singing voices. If singing voices and styles were more homogenous objective entities, maybe the work of voice scientists and critical listeners would be simpler. Works of science fiction, even popular cartoons like Dexter's Laboratory and Family Guy, beg the comparison of voice scans to fingerprints. Just like the right voice evokes a response in these fictitious scanning machines, certain vocal qualities tend to evoke certain evaluations by humans. The ubiquity of references such as the ones from the described cartoons makes a case for the existence of a common latent acceptance of the unique and evocative qualities of the human voice. -
How Vocal Classification Affects Young Singers
Portland State University PDXScholar University Honors Theses University Honors College 2015 How Vocal Classification Affects Young Singers Anthony Nguyen Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/honorstheses Let us know how access to this document benefits ou.y Recommended Citation Nguyen, Anthony, "How Vocal Classification Affects Young Singers" (2015). University Honors Theses. Paper 134. https://doi.org/10.15760/honors.129 This Thesis is brought to you for free and open access. It has been accepted for inclusion in University Honors Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Anthony Nguyen May 22, 2015 HON 403 Professor Fallon Thesis: How Voice Classification Affects Young Singers Abstract Most young classical singers will encounter different vocal pedagogues with different and sometimes opposing methods. One of the main aspects of training a young singer is deciding what voice type they should train in, a decision that should not made solely by the student or the teacher. There is ambiguity over when and how it is appropriate to classify a young singer's voice type. Some pedagogues recommend forgoing any classification in favor of a more singing foundation-based teaching in early vocal development. Some teachers claim certain vocal exercises will help determine the correct voice type. Other studies have attempted to standardize voice types with use of technology such as the Long term average spectrum or examination of vocal tract lengths. With a better understanding of how voices types are defined and developed, the singer will be better able to proceed with their vocal development with more awareness as to not manipulate, and to potentially damage, their voice. -
Norma by Vincenzo Bellini STUDY GUIDE
Norma by Vincenzo Bellini STUDY GUIDE 1 Norma Study Guide Table of Contents Welcome 3 Introduction to Opera 4-5 A Night at the Opera: Your guide to a night to remember 6 Opera Terms and Voice Categories 7 About Our Director: Nicolas Muni 8 About the Composer: Vincenzo Bellini 9 About the Conductor: Alice Farnham 10 About the Librettist: Felice Romani 11 Historical Context of Norma: Who were the Druids? 11 Synopsis 12 Cast of Characters 13 The Opera: Everyone Else! 13 Bel Canto Opera 14 What to Listen For 14 For Teachers and Parents 15 References 16 2 Norma Study Guide WELCOME! “Opera is about life and everything that entails—love, hate and passion.” - Lesley Garrett Hello dear teachers, parents and students, My name is Patricia Kesler and I run the Education and Community Outreach programs at Calgary Opera. I am so happy to welcome you all back for our 2019-2020 Season here at the Opera. I have been so privileged in the past year to get to know and work with many of you, and hope that our relationships expand and multiply during my time. We opened the year with a hugely successful production of Puccini’s La Bohème and are moving along quickly to our second and third productions of the season: Vincenzo Bellini’s Norma and Richard Strauss’ Ariadne auf Naxos, respec- tively. I absolutely embrace the drama, heartache and passion that will play itself out across the stage of the Southern Alberta Jubilee Auditorium this year and hope you will all be there to join me.