Century Operas on Vocal Pedagogy
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ABSTRACT Title of Dissertation: THE IMPACT OF GENRE FUSION AND IMPROVISATIONAL ELEMENTS IN 21ST- CENTURY OPERAS ON VOCAL PEDAGOGY AND PERFORMANCE PRACTICE Sequina DuBose, Doctor of Musical Arts, 2019 Dissertation directed by: Professor Carmen Balthrop, Chair, Voice/Opera Division School of Music In the 21st century, opera composers are expanding beyond traditional boundaries by incorporating improvisatory elements and musical style elements from non-classical genres. The purpose of this study is to point to the impact these trends will have on vocal pedagogy and performance practice. The opening chapters of the dissertation provide historical context by examining the role of improvisation in the Baroque era and beyond, along with details concerning key shifts in audience culture, vocal aesthetic and performance practice throughout history. Chapter two also incorporates narratives from key industry practitioners, voice pedagogue Dr. Rachelle Fleming, and American Opera Projects Artistic Director, Mila Henry. Chapter three consists of a discussion of the research methodology and the key researchers and methodologists that influenced the study. This study is a narrative inquiry that employs an analysis of narrative approach and paradigmatic reasoning in its analysis, inducing themes and relationships between the concepts that reveal themselves in the data and literature. Chapter four includes narrative research and analysis based on interviews that have been conducted with composers and singers from four innovative operas: Charlie Parker’s Yardbird (Daniel Schynder), I Dream: A Rhythm and Blues Opera (Douglas Tappin), Blue Viola (Peter Hilliard), and The Mile-Long Opera: a biography of 7 o’clock (David Lang; the composer intentionally uses lowercase script in the titles of his works). Each composer and singer offers a unique perspective regarding the interpretation of and preparation for contemporary operatic works, and furthers the argument that academic voice programs will benefit from an expanded curriculum that prepares singers to meet the evolving demands of the opera industry. The final chapter provides personal testimony from the author and suggested vocal and dramatic exercises for incorporating improvisation in a manner that may be of use in university opera workshops, group voice classes, and voice studios. This body of research documents the stylistic and technical considerations that modern opera singers and teachers take into account in order to branch out and explore operatic works that have genre-bending and/or improvisative elements. Based on the findings from this study it is recommended that voice teachers cross-train by teaching classically trained singers to adapt their singing methods to various styles. THE IMPACT OF GENRE FUSION AND IMPROVISATIONAL ELEMENTS IN 21ST-CENTURY OPERAS ON VOCAL PEDAGOGY AND PERFORMANCE PRACTICE by Sequina DuBose Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2019 Advisory Committee: Professor Carmen Balthrop, Chair Professor Dr. Kenneth Elpus Professor Francine H. Hultgren Professor Martha Randall Professor Delores Ziegler © Copyright by Sequina DuBose 2019 Dedication For Mom, who taught me to dream. For Dad, who showed me how to live life to the fullest. ii Acknowledgements I am eternally grateful to my voice teacher, advisor, mentor, and friend, Professor Carmen Balthrop, for investing time, energy, and care toward cultivating my talent and potential. I extend sincere gratitude to Professors Martha Randall and Delores Ziegler and to the entire faculty body at University of Maryland College Park for their enthusiastic and consistent support throughout my matriculation. I thank my dissertation committee for the their encouragement, guidance, and endorsement. Finally, I am thankful to my ArtsCentric theater company family, and to the community of family members, friends, and colleagues who have rallied behind my efforts and been a constant source of inspiration and motivation. iii Table of Contents Dedication ........................................................................................................................... ii Acknowledgements ............................................................................................................ iii Table of Contents ............................................................................................................... iv List of Figures .................................................................................................................... vi CHAPTER 1: Introduction ..................................................................................................1 Purpose of the Study ....................................................................................................2 Related Literature.........................................................................................................5 Organization of the Study ..........................................................................................12 CHAPTER 2: Improvisation Studies in Early Classical Music .........................................14 Castrati and the Bel Canto Tradition .........................................................................16 Cyclical Trends and Developments in Opera ............................................................26 From Gluck to Verdi: Opera is Reformed .................................................................29 Genre Fusion: Toward Forming a National Identity..................................................33 CHAPTER 3: Methodology ...............................................................................................46 Narrative Inquiry ........................................................................................................47 Limitations of the Qualitative Research ....................................................................52 Interview Process .......................................................................................................53 CHAPTER 4: Opera and Industry in the 21st Century .......................................................64 The Composer’s Perspective .....................................................................................72 Musical Identity and Desire for Artistic Freedom .....................................72 The Desire for Versatile Singers ................................................................80 Views on Voice Pedagogy and Performance Practice ...............................87 Analysis: The Composer’s Perspective ....................................................................94 The Singer’s Perspective ...........................................................................................96 The Challenges and Rewards of 21st-centurys ..........................................96 The Intersection of Background and Training .........................................108 Analysis: The Singer’s Perspective ........................................................................115 CHAPTER 5: Training the 21st-Century Singer .............................................................117 The Use of Amplification and Technology Integrations .........................................118 iv Meeting the Physical and Dramatic Demands of Opera in the 21st Century ...........124 Meeting the Vocal Demands of Opera in the 21st Century .....................................127 The Limits of Specialization ....................................................................................132 The Benefits of Improvisation .................................................................................136 Viola Spolin’s Theater ‘Games’ ..............................................................................142 Improvisation Exercises ...........................................................................................144 CONCLUSION ................................................................................................................151 APPENDIX A: Sample Letter Requesting Participation in the Study ...........................156 APPENDIX B: IRB Consent Form .................................................................................158 APPENDIX C: IRB Approval Letter ..............................................................................160 APPENDIX D: Initial Questionnaire for Composers .....................................................161 APPENDIX E: Initial Questionnaire for Singers ............................................................162 BIBLIOGRAPHY ............................................................................................................163 v List of Figures 2.1. Passage from “Se tu m’ami, o mia regina” Aurelia (Rossini) ....................................31 2.2. Cyclical patterns that demonstrate influences on opera and pedagogy .....................44 4.1. Page 11, Score 9 of The Mile-Long Opera ................................................................88 4.2. Photograph of the author in The Mile-Long Opera (David Lang) ...........................105 4.2. Photograph of singers with illuminated visors in The Mile-Long Opera ................106 4.3. Photograph of the singers at spotlights stations in The Mile-Long Opera ...............106 5.1. Andrea Brook plays the “Sonic Butterfly” ...............................................................122 vi CHAPTER 1 Introduction