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Singing for Two: Experiencing Pregnancy As a Classical Singer

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Singing For Two: Experiencing Pregnancy as a Classical Singer by Catherine Marie Gardner A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Catherine Marie Gardner 2017 Singing for Two: The Experience of Pregnancy for the Classical Singer Catherine Gardner Doctor of Musical Arts Faculty of Music University of Toronto 2017 Abstract The purpose of this study was to understand more fully the experience of pregnancy for the classical singer. Though research has uncovered the physical implications of pregnancy for the non-singer, aspects which can impact the classical singer, such as breath mechanics, hormonal fluctuations, and the many other physical changes brought on by pregnancy, have not been fully investigated. My first objective was to find out how the physical aspects of pregnancy impact singers as they continue to perform through these changes. My second objective was to discover what the emotional implications of pregnancy are for the classical singer. Did emotional changes instigated by pregnancy occur that influenced the singer’s performance anxiety, routine and sense of self as a performer? My final objective was to investigate the social implications of pregnancy for the classical singer. How are pregnant classical singers viewed and treated within the performance realm? Is there support for singers who become pregnant? What are the implications for career trajectory and timing? !ii This study uses mixed methods to enhance and expand the range of information gathered. In- depth interviews were conducted on two pregnant and one recently pregnant classical singers. An exploratory survey was conducted with 444 participants from around the world. Extensive data was collected from both groups, including a large amount of qualitative data from the survey group in the form of additional comments made online. After analyzing the data sets separately, the survey and interview results were merged to provide deeper meaning to the findings. This resulted in additional questions which were posed to the interviewees through written conversations. This study provides insight into the experience of pregnancy for the classical singer, explores factors which contribute to positive learning and growth for the singers involved and uncovers numerous questions for future research. !iii Acknowledgments I would not have been able to write this paper without the help and guidance of many people. I am grateful for the encouragement and support of my wonderful committee, Dr. Lori-Anne Dolloff, Wendy Nielsen and Dr. Midori Koga. Thank you for believing in this project and for your time and efforts in guiding my progress. Your comments and suggestions have been essential and enlightened. To Wendy, my voice teacher: thank you for your continued guidance, both technical and personal. You have set an example for which I will continue to strive. To my supervisor, Lori: thank you for your encouragement and wise editorial help, as well as for introducing me to the world of qualitative research in such an inspired way. I am so grateful that I had your direction and support. To my wonderful interviewees, Joelle Harvey, Meagan Miller and Shareese A: Thank you for your willingness to share your pregnancy journey with me. I am grateful for your candour and your enthusiasm. Your generosity and openness will always stay with me. To the survey participants: Thank you for taking the time to record your experiences and for going above and beyond by adding your detailed comments. Your stories have served to inform and inspire. To my friends and family, who patiently listened as I described my progress and kept me going when all I wanted was a nap! Thank you for believing in me. To my friend, student and teacher, Tracy Currie: from helping me decide between school and babies, supporting me when I chose both, and for your continued editing and support, I am grateful for you. !iv To my parents, who not only were my endless cheering squad, but also helped in practical matters such as trips to the music faculty with a four-month old in tow, lots of babysitting and lending of vehicles, supportive conversations about data themes and deadlines and for knowing I could do this when I wasn’t sure myself: thank you for all the many ways you have helped me accomplish this goal. To my husband, Mark: we had no idea what this journey would bring when we went on it together! Thank you for your unwavering support and understanding and for listening through all the many ups and downs. I am grateful for you. To my daughter Sophia: Thank you for inspiring me. Your arrival has brought about so many wonderful changes. I am honoured to be your mother. (And thank you for napping beautifully so that I could write!) !v Dedication I dedicate this doctoral thesis to the many singing mothers who uplift us with their voices and inspire us with their parenting. !vi Table of Contents Abstract……………………………………………………………………………………………ii Acknowledgments…………………………………………………………………………..……iv Dedication……………………………………………………………………………………..…vi CHAPTER ONE: INTRODUCTION My Research Story……………………………………………………………….……………..…1 Need for the Study…………………………………………………………………………….…..6 Purpose of the Study………………………………………………………………………………8 Limitations of the Study…………………………………………………………………..………9 Overview of the dissertation design………………………………………………………..……10 CHAPTER TWO: A REVIEW OF THE LITERATURE Exploring the Subject……………………………………………………………………………12 Physical Realities of Pregnancy for Singers and Non-Singers…………………………….….…17 Emotional Landscape of Pregnancy………………………………………………………..……28 Social Implications of Pregnancy…………………………………………………………….….33 Casual Resources…………………………………………………………………………….…..44 !vii Scholarship on Singers and Body Image………………………………………………….……..48 Narrative Studies on Pregnancy and Singing…………………………………………………….51 Closing Thoughts on Current Literature…………………………………………………………54 CHAPTER THREE: METHODOLOGY An Evolution in Thought and Discovery………………………………………………………...55 Theoretical Lens…………………………………………………………………………….……64 Methodology in Practice: Survey……………………………………………………………..….71 Methodology in Practice: Interviews…………………………………………………………….79 Merging the Data Sets…………………………………………………………………………....86 CHAPTER FOUR: SURVEY DATA FINDINGS Introduction………………………………………………………………………………………88 Physical Impact……………………………………………………………………………….….89 Emotional Impact……………………………………………………………………………….105 Social Impact of Pregnancy on the Classical Singer………………………………………..…..119 Overall Impact of Pregnancy…………………………………………………………….……..136 Final Thoughts……………………………………………………………………………….…144 !viii CHAPTER FIVE: INTERVIEW FINDINGS Participant Introduction…………………………………………………………………..…….146 Emerging Themes………………………………………………………………………………151 Flexibility……………………………………………………………………………………….152 Interconnection…………………………………………………………………………………161 Perspective………………………………………………………………………………….…..172 Shareese's Perspective………………………………….………………………………….172 Joelle's Viewpoint…………………………………………………………………………175 Meagan's Perspective……………………………………………………………………..178 Overlapping Experiences: Themes Between Pregnancies………………………………….…..181 CHAPTER SIX: DISCUSSION Merging the Findings………………………………………………………………………..…188 Physical Impact…………………………………………………………………………………188 Emotional Impact………………………………………………………………………...……..198 Social Impact……….……………………………………………………………….………….208 Overall Impact: Comments and Comparisons………………………………………..…….…..225 !ix CHAPTER SEVEN: CONCLUSION Putting the Pieces Together…………….……………………………………………………….236 Answering the Research Question…………………………………………………….………..238 Further Key Discoveries………………………………………………………………………..239 Implications for a Further Study…………………………………………………………….….240 Impact and Influence of "Singing for Two”……………………………………………………242 Conclusion……………………………………………………………………………….…..…243 Postlude…………………………………………………………………………………………244 REFERENCES…………………………………………………………………………………246 !x List of Figures Survey Participant Countries of Origin………………………………………………………….88 Survey Participant Ages…………………..……………………………………………………..89 Comparison of Fachs: Pre-Pregnancy and Current………………………………………….…..98 !xi List of Appendices Letter of Consent for Interview Participants……………………………………………………260 Singing For Two: Survey Questions……………………………………………………………261 !xii Chapter One: Introduction “Life is always a rich and steady time when you are waiting for something to happen or to hatch.” ~E.B. White, Charlotte's Web My Research Story. When I think back on my decision to research the experience of pregnancy for the classical singer, it is difficult to remember that I wasn’t even pregnant at the time. For entry into my doctoral program, I had been asked to write a brief paragraph describing the research I would undertake. Caught off guard by this request, I came up with a quick sentence or two about the role of women in art song and identifying key character portrayals. I would later write an essay on the subject before realizing that this idea wasn’t one that interested me enough to commit my research energies. What was interesting to me at the time was a personal matter that seemed completely removed from my work as a doctoral student: What would it be like to be pregnant, and how would the experience change my singing, my career and my life? Surprisingly, it did not occur to me until much later that this interest could intersect with my academic work and become the subject for my dissertation. Researcher Reflexivity. Jeffrey Kottler writes, “You can’t understand qualitative research without understanding
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