The Fall of the Tenor with the Rise of the Larynx

University of Kentucky UKnowledge

Theses and Dissertations--Music Music

2017

THE FALL OF THE TENOR WITH THE RISE OF THE LARYNX

Gregory Turay University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.358

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Recommended Citation Turay, Gregory, "THE FALL OF THE TENOR WITH THE RISE OF THE LARYNX" (2017). Theses and Dissertations--Music. 96. https://uknowledge.uky.edu/music_etds/96

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REVIEW, APPROVAL AND ACCEPTANCE

The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s thesis including all changes required by the advisory committee. The undersigned agree to abide by the statements above.

Gregory Turay, Student

Dr. Everett McCorvey, Major Professor

Dr. Michael Baker, Director of Graduate Studies

THE FALL OF THE TENOR WITH THE RISE OF THE LARYNX

A Musical Arts Project

A Doctoral Musical Arts Project in partial fulfillment of the requirements for the degree of a Doctor of Musical Arts in the College of Fine Arts at the University of Kentucky

By Gregory Turay

Lexington, Kentucky

Director: Dr. Everett McCorvey, Professor of Voice

2017

Abstract

THE FALL OF THE TENOR WITH THE RISE OF THE LARYNX

The range and use of the tenor voice in classical music has long been established since the late 19th century. It is widely accepted among pedagogues that the range is C3-C5

(with obvious exceptions depending on the fach). However, with the advent and development of the American Musical as a genre since the early 20th century, the ‘tenor’ has taken on an entirely new direction and range altogether. Several well-known sources have stated that the ‘Broadway tenor’ has a range of A2-A4. This is (as it widely accepted in the classical profession) the range of a baritone. The catalyst of these changes include vaudeville, composers, social trends, and probably most important, the invention and proliferation of the microphone. This study will analyze a cross section of repertoire in order to demonstrate this downward shift of vocal range, and demonstrate some of the main reasons why this shift occurred.

Keywords: Broadway, tenor, baritenor, elevated larynx, vocal range

Gregory Turay

August 2, 2017

THE FALL OF THE TENOR WITH THE RISE OF THE LARYNX

Gregory Turay

Dr. Everett McCorvey, DMA Director of Doctoral Musical Arts Project

Dr. Michael Baker, PhD Director of Graduate Studies

August 2, 2017 Date

Table of Contents

Introduction ...... 1 Literature Review...... 3 Methodology ...... 5

Chapter 1: A Brief History ...... 6

Chapter 2: Pedagogy and Physiology of a Tenor...... 12

Chapter 3: Technology ...... 21

Chapter 4: The Composers...... 24

Chapter 5: The Musicals and Analysis ...... 26

Chapter 6: Conclusion and Discussion ...... 29

Bibliography ...... 32

Vita ...... 40

Introduction

The classically trained tenor voice has always held mystery and mystique throughout history since the discovery that one could take the chest voice into the higher register normally associated with the head voice. The first male to successfully sing full chest up to C5 has been attributed to Gilbert Duprez (mid 19th century).1 Although not well received by everyone,2 the sound was still revolutionary and set in motion the development of the expanding chest voice higher and higher and thus requiring larger orchestrations to support this tone with larger houses to accommodate the fuller sounds.

The lowering of the larynx and raising of the velum is what essentially produces the fuller, chestier sound that was soon to be sought after by all tenors. Ultimately this became the norm for teaching and training the tenor voice up to the present day.

Repertoire ascribed to this ‘new’ sound and voice type was mainly operatic; though because of pedagogical advancements in knowledge and science, this fuller sound became the norm for vocal teachers and technicians. This included the repertoire of art song, orchestral music, and even popular music, such as operetta. However as American music found its voice in popular culture and on the stage (American musicals), this fuller more visceral sound lost its place as the default sound for a tenor voice.

1 Berlioz was present at the premier of Duprez’ high C in chest, and wrote of the event: "Silence reigns in the stupefied house . . . Amazement and admiration blend in a mood almost fearful." (Cited in Newsweek, March 15, 1976), (57). 2 Senici, Emanuele. 2004. The Cambridge companion to Rossini. (Cambridge, UK: Cambridge University Press, 2004), (167).

In this dissertation, I will focus on the sudden divergence that occurred in the United

States in the early twentieth century with regards to the range, technique, sound, and composition of the tenor voice; in regards to the Broadway musical. The obvious factors that played a part in this divergence were the use of the microphone in theatres, the advent of jazz and popular song (patter), the composers, voice teachers, and the singers themselves. In many respects, the ‘new’ sound parallels that of the development of recitative and monody that led to invention of opera. The Florentine Camerata were passionate about finding a form of theatre to help communicate and express the text.

Similarly, at the turn of the twentieth century, both the public and composers were interested in returning to a more simplified form of expression and communication. With strong influences from Anglo-Irish, Slavic/Gypsy/Spanish, and African-American styles,

Broadway music became based on natural voice singing, or one’s normal range of speech; aka, the chest register.3 In addition, amplification played a significant role in this as well. Since singers did not have to project vocally to entire houses, they could sing effortlessly relying on the microphone and focusing on clear articulation for precise expression of text; ‘expressive intimacy’.4 As result of this advancement in technology, new teaching techniques (or a lack thereof5) arose as did a new style of singing. Thus, a

3 Salzman, Eric, and Thomas Dézsy. The New Music Theater: Seeing the Voice, Hearing the Body. (Oxford: Oxford University Press, 2008), (20-21).

4 Ibid (23)

5 Flinn, Caryl. Brass Diva: The Life and Legends of Ethel Merman. (University of California Press, 2009), (33).

full range of musical styles sprang up within the theatre, including folk, jazz, gospel, blues, and eventually pop.

Literature Review

Despite the obvious importance of this seismic shift in vocal production and tessitura in the tenor voice, there has been relatively very little written about the dramatic shift. There are relatively few references to this topic in the literature. William Alex Martin does discuss the use of the voice type ‘baritenor’ in his dissertation. Susan Bordman also investigates vocal training in her dissertation Voice training for the musical theatre singer. In addition, the authors Eric Salzman and Thomas Dézsy discuss the development of American Musical Theatre as a genre in their book on The New Music

Theatre. However, no book, dissertation, or NATS journal directly addresses this specific topic regarding the shift in the tenor voice, or his range on Broadway. The need for a more systematic study of this dramatic vocal transformation is obvious and needed.

I began my career in opera over twenty years ago. I have a thorough knowledge of the bel canto technique, but only recently have begun to cross over singing within the

Broadway style. It was in a recent portrayal of the role of Jean Valjean in the musical

Les Miserables that I discovered the incredibly low tessitura and range that accompanies a tenor Broadway role. Further investigation led me to discover that most of the ‘tenor’ roles on Broadway, were in fact, written within a baritone range. My repertoire now

includes many ‘show-stopper’ songs that are written for the Broadway tenor, as a result of performing on large scale Broadway revues for the past several years. I discovered the challenge of maintaining the low baritone-range notes while still trying to showcase my classically trained, high, tenor notes. What I have learned has been profound and monumental in regards to the differences in styles and approaches. My knowledge, performance experience, and teaching experience will all lend themselves to this study and investigation into the fall of the tenor on Broadway.

I have managed to use a broad range of primary and secondary sources to investigate my thesis and to substantiate my argument with related information, historically significant treatises, letters, memoirs, published articles and books. As referenced earlier, The New

Music Theatre is an excellent source that discusses the major influences that played a part on the musical theatre scene in America and how those forces made their impact known.

The authors trace how opera and operetta (though exclusive) melded into America’s new form of music theatre. They also comment on the external forces that help to create this new form of music; the singers, the popular culture (jazz), and amplification. I hope to further their efforts by commenting on how vocal science and pedagogy played a significant role in the evolving role of the tenor on Broadway. Specifically, how allowing a heightening of the larynx and lowering of the velum in order to express the text and employ the popular singing styles of the time created a vacuum to be filled by baritones, or baritenors.6

6 Martin, William Alex. Highs and lows of the baritenor voice: Exploring the other male hybrid. Ph.D. diss., The University of Alabama, 2010. http://ezproxy.uky.edu/login?url=http://search.proquest.com.ezproxy.uky.edu/docview/610155866?acco untid=11836

Methodology

A study of the music written for the tenor voice from the turn of the twentieth century to the present day is necessary to determine the demands made on the tenor in each of the stylistic periods and for the several different genres that occupied Broadway from the turn of the twentieth century to the present day. I have used a considerable collection of important recordings of significant tenors, Broadway anthologies, vocal scores, and have performed with and interviewed a number of the great tenors of our time. Further, significant research currently involved in scientific investigations concerning respiration, phonation, resonation and articulation in singing is cited. Moreover, I bring to this study over twenty years of experience in performing and teaching, including at the high school, college and university levels, in addition to professional singers. It is with a deep interest in the functioning and teaching of the singing voice not only in opera, but musical theatre and popular music, a great curiosity about the many fascinating styles and techniques taught throughout the history of singing and vocal pedagogy, and a deep admiration for great tenors of all genres and generations that this study is undertaken.

Chapter 1

A brief history….

Early American Musical Theatre was as diverse as the nation that created it. As a country, America is known as the ‘great melting pot.’ Immigrants from all over the world representing many different nationalities, cultures, and ethnicities all assimilating into one homogenous culture, or way of life. American Musical Theatre (AMT) began in much the same way from several different styles and genres that were assimilated into one homogenous style. The challenge with defining the history of AMT is that there is not a single linear development that tells the entire story of its development. It grew out of so many other forms that all ‘melted’ into what we now know as AMT; from opera, to operetta, ballad opera, minstrelsy, vaudeville, extravaganza, revues, jazz, circus plays, plays with olios7 (songs, dances, acrobatic acts, etc), variety shows, pantomime, burlesque, etc., etc., etc. AMT, or Broadway had a wealth of performance practice and history to draw on.

The sensational extravaganza, The Black Crook, considered by many to be the first

American musical, (produced in New York on September 12, 1866) was the most successful theatrical production put on in America up to that time.8 As John Kenrick notes in his book Musical Theatre: A History, “The Black Crook became the first stage

7 "Olio." Merriam-Webster.com. Merriam-Webster, n.d. Web. 2017. 8 Traubner, Richard, Operetta A Theatrical Histor (New York: Doubleday and Company Inc.,2003), (357).

production in world history to run for more than a year.”9 While not necessarily the first

American musical, The Black Crook introduced some of the ritual subsequently identifying American musical comedy: chorus girls, ornate production numbers, elaborate costuming, provocative songs, large dance numbers, and spectacle.

Nevertheless, The Black Crook came from a foreign model. It was a very similar reproduction to that of the European models (extravaganzas) which had been visiting and touring the United States a number of years earlier. After the mid-1860s, and for the rest of that century, the American stage was flooded with foreign operettas of Offenbach and

Lecocq among others; the operettas of Suppé and Johan Strauss II; the comic operas of

Gilbert and Sullivan. In addition, there were successful alternate genres that defined

American entertainment of the day.

Minstrelsy, or the minstrel show, was another form of entertainment developed during this period and crystalized in 1843. Shows consisted of songs and dances interspersed with comic skits and improvised “plantation-style” patter.10 The shows were performed by white people in make-up or blackface for the purpose of mimicking a black performer.

There were also some African-American groups and performers that later formed and toured.

Vaudeville and Burlesque were two similar styles that were prominent in the lead up to the new AMT. Burlesque being well known for its bawdiness of material, but also for scantily clad women doing striptease. There was oftentimes music and even singing, but

9 Kenrick, John. Musical Theatre A History (New York: Continuum International Publishing, 2008), (67) 10 Kenrick, John. Musical Theatre A History (New York: Continuum International Publishing, 2008), (53)

no storyline to connect the various acts of a performance. Vaudeville, in the same way, was not a story told by a common theme or thread. In fact, it was often considered variety acts made up of performances ranging from circus to straight singers and dancers.

There were also strong men acts, jugglers, straight play actors, kid acts, etc. In much the same way as our modern ‘America’s Got Talent’ reality TV show pits different acts against each other to be judged, Vaudeville was that type of entertainment during the late

19th and early 20th centuries.

What differentiates the previous genres, or styles, from that of AMT, is that they had no plot, or through line. The first American musical to do so was The Brook in 1879, book and lyrics by Nate Salsbury11. The plot was not substantial and the songs were merely adaptations of familiar tunes. The subject matter dealt with simple working-class characters and their daily mishaps which was not necessarily significant. However, The

Brook was a pioneer effort to achieve some measure of unity among plot, dialogue and characters within an essentially American play.12

America’s distinct personality for AMT was further explored and developed in the burlesque-extravaganzas produced and written by Ed Harrigan and Tony Hart. Both men performed in minstrel shows and variety acts (vaudeville) before becoming the producers

11 Smith, Cecil Michener, and Glenn Litton. Musical Comedy in America. 2nd ed. (New York: Theatre Arts Books, 1981), (33).

12 Ibid, (31-33)

and performers of their own The Mulligan Guard plays.13 Though the format was based roughly on burlesque (comedy) and extravaganza, their source material was entirely

American. These Mulligan farces presented a caricature of life in New York with such racial or national groups as the Irish, Germans and Negroes. Their unique and individual speech patterns coupled with the juxtaposition of humanity and musicality dominated the

New York stage until the partnership of Harrigan and Hart broke up in 1885.

The American musical comedy, however, did not emerge with its familiar panoply until after the turn of the twentieth century. Its parent was George M. Cohan--librettist, lyricist, and composer. Ingenuous though were Cohan's methods and techniques, naïve though much of his material was, he was nevertheless a powerful influence in creating an indigenous musical production. Not only were the settings and characters of Cohan's musicals thoroughly American, but his dialogue, lyrics and melody were ‘colloquial and native.’ The spirit of brashness, cocksureness, energy and chauvinism that pervaded the

Cohan musicals were unmistakably American.14 Cohan also established some of the procedures henceforth governing musical-comedy writing. Any plot, however far-fetched and improbable, was serviceable just so long as it could be the frame for songs, dances, routines and humorous episodes. No longer was the play the thing, but the elements within the play were what drove the show and for many years American musical comedy was governed by this principle.

13 Kenrick, J. Musical Theatre: A History (Continuum, 2008), (99-103).

14 Letellier, Robert Ignatius. Operetta: A Sourcebook, Volume II (Cambridge Scholars Publishing, 2015), (1010).

In those years a musical comedy rarely came into being simply because a text was found to lend itself for musical treatment. The more usual practice was for a producer to have a star, or a group of stars, under contract and then create a play which would highlight the special gifts of performer or performers. The important element in musical comedy was the kind of business that was assigned to the stars. It did not matter at all if much of this business was irrelevant to the story. A pattern evolved which for a long time was inflexibly adhered to, beginning with the rise of the curtain on a line or two of fetching chorus girls chanting an opening number and mammoth production sequences ending each of the acts. The girl always captured the boy, and the villain always met his just due.

Within such a rigid formula, however, some creative figures were able to bring some distinction and personality of style. Composers like Friml, Romberg, Herbert and Jerome

Kern; lyricists and librettists like P.G. Wodehouse, Guy Bolton, Otto Harbach and Oscar

Hammerstein II; performances by stars like Anna Held, Marilyn Miller, Vernon and Irene

Castle and many others, were able to find ways to highlight their own unique talents.

From time to time efforts were made to break loose from the bonds of rigid formula. In the 1920s the Princess Theatre Shows--texts by Guy Bolton, lyrics by P.G. Wodehouse and music by Jerome Kern--represented for the times a radical departure from the kind of musicals then popular on Broadway.15 The Princess Theatre Shows dispensed with a large apparatus to concentrate on intimate and informal entertainment with small casts and no stars. In place of production numbers, humorous skits and chorus-girl lines, these

15 Ewen, David. The World of Jerome Kern: A Biography (Holt, 1960), ( 58).

musicals concentrated on sophistication, witty dialogue, amusing incidents that rose naturally from the context of the play, charming music and a distinctly American personality of plot and characters.

The tendency away from routine was followed with even greater courage in the 1920s by

Rodgers and Hart, with Herbert Fields as their librettist. Material long considered taboo in musical comedy was tapped by these inventive and courageous writers; dream psychology, American history, American literature. These men had no hesitancy in abandoning long-accepted procedures of musical comedy when their texts demanded this; and there was always a willingness on their part to endow their writing with a breadth and scope not often encountered in the musical theatre of that day. Rodgers and Hart lifted musical comedy out of the nursery and carried it to adult maturity.

The most important distinction to me, seems to be that America founds its own style and theatre by the late 1800’s/early 1900’s. It was a style that broke away from the grandiose works of opera, and the classical style of operetta; drawing from the more basic and folk- like elements of jazz, minstrelsy for the songs, and extravagant aspects of burlesque and extravaganza for the spectacle, and the comedic aspects of vaudeville for the humor.

Ultimately what was created was a vehicle to which a new type of singer was required; one not necessarily classically trained, or perhaps with no training at all. This would form the foundation from which a new kind of tenor was born.

Chapter 2

Pedagogy and Physiology of a Tenor

The tenor voice has always been one of the great fascinations of the vocal world. It is the only voice type to sing in a range outside of the speaking range. It defies logic how one can ascend to the vocal heights of C5 in chest voice without bursting a blood vessel; although that has happened.16 Obviously, volumes could be written on what constitutes the ideal vocal technique for the tenor; and many have been written. There are many schools of thought depending on what your country of origin is, what school of pedagogy in which you were trained, and what style of singing you prefer for performance.

However, for purpose of this paper, we are going to consider the bel canto school established by Manuel Garcia and further reinforced by the likes of Duprez, Marchesi,

Tizzi, Miller, and many others, to become the gold standard. This school of singing employed a supported, vibrato-based vocalism and has dominated operatic singing for over a century and a half. From this technique and fundamental understanding of how the instrument can be used, I have confirmed through experimentation and performance this method of singing to be the healthiest and most beneficial for longevity and optimal use.

16 Potter, John. Tenor: History of a Voice (Cumberland: Yale University Press, 2009), (50).

Within this structure and parameters as set forth by the pedagogy of the bel canto method, a typical and accepted range for the tenor voice is considered C3 to C5.17 There are exceptions to this as some of the operatic writing can descend to B2 and even as high as

D5. However, it was generally accepted that a ‘true tenor’ encompassed the range of C to

C; a two octave range.

The most obvious challenge to this accepted theory of vocal range is when one considers the normal accepted range for a tenor on Broadway, or AMT. Unfortunately, there are no codified practices that dictate Broadway singing technique or the voice types therein. In fact, the diversity of approaches make it difficult to determine a standard practice. This can pose challenges when trying to determine what a tenor range consists of in this genre; even more so is the problem of style.

There is no single established style of singing within the American Musical Theatre genre. The ‘Golden Age’ musicals are thought to be more ‘legitimate’ (‘legit') in vocal nature; meaning more classically based. The vocal style of the Rock musicals tend to ignore all pedagogical reasoning and healthy singing practices. Pop opera musicals require a more bel canto technique (albeit with non-traditional ranges). There are also the juke box musicals (shows based on previously recorded and/or popular music) which fall into a similar category as the rock musicals. Finally, there are the mega musicals and

Disney musicals which rely on contemporary popular singing styles. Within each of

17 Miller, Richard. Training Tenor Voices (New York, NY: Schirmer Books, 1993), (7).

these “sub genres” the tessitura and range for the tenor can vary significantly. For instance, while the ‘Rock Musical’ tenor can ascend to a high C5, or higher (Judas in

Jesus Christ Superstar sings a D518) these tenors do not employ the Bel Canto lower laryngeal technique. The other sub genres within AMT have the tenor only ascending to

A4, generally speaking.

There are exceptions to every rule given that there is a wide range of musical styles and variances of ranges within the Musical Theatre genre. The reason for this is that the technique employed on Broadway is not that of the Bel Canto school. In fact, there does not seem to be an accepted or unified pedagogic school of training voices for the

American Musical Theatre. For this study we will exclude the study of the Rock Musicals and their ranges, since the style is far removed from classical, ‘legit,’ or the other styles within Broadway and AMT.

In examining the classical, ‘legit,’ and other styles of AMT, there seems to be a significant deviation from the previously accepted Bel Canto school tenor range. The difference might seem small, but it’s quite significant. The Broadway range is a major third lower from the accepted high C5, and a major third lower from the lower C (C3); A flat 4 on top to A flat 2 on bottom. Why is this significant? Because this is the range of a

18 http://stageagent.com/characters/4386/jesus-christ-superstar/judas. 2017

baritone.19 Baritones don’t sing much lower than A flat 2, but they certainly can (most of them) sing higher than A flat 4!

We haven’t even touched on fach yet, which could fill another bookshelf. Fach is a term used in Germany (and throughout opera) and defines the general weight of a role, the flexibility of that role, and the range that the singer is comfortable singing in for longer periods of time.20 The term fach is much more complicated than that, but for our purposes, understanding there are ranges that tenors are more or less comfortable will suffice.

In AMT, of those three criteria, the range, or tessitura is what we will focus on the most.

Tessitura is a term describing where most of the notes sit in a piece of music, or entire role. A normal range, or tessitura for young tenors would be B3 to G4 (not too high and not too low). A more advanced, or dramatic tenor, might sing in a tessitura of Eb4-Bb4

(considered a high tessitura); this could be considered a dramatic fach or a light

‘tenorino’ fach depending on the orchestration and speed of notes. Now most Broadway roles don’t live in the normal tenor tessitura (to say nothing of the total range). Most tenor roles on Broadway are written from Bb2 to F4. This again, is a baritone range. In fact, it would be considered a light baritone in the Bel Canto school. So, this begs the question, what happened to cause this change? Why are roles listed as tenors when they

19 Wikipedia contributors, "Voice type," Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=Voice_type&oldid=791373280, 2017. 20 Miller, Richard. On the art of singing (New York, N.Y: Oxford University Press, 1996), (199-201).

are being called upon to sing down to Ab2, and live in the ‘basement’ of their vocal range? There are many reasons for this. One is a prevailing notion about posture and alignment. In Karen Hall’s book, So You Want To Sing Music Theater, Hall states, “One exception to classical alignment is the position of the head: in belting, music theatre singers often tilt their head up slightly to facilitate the upward movement of the larynx.”

Vocal pedagogy for the classical singer differs by advocating for a lowered laryngeal position. This difference is the major point of departure for both schools, and the main reason for the ‘fall’ of the tenor on Broadway.

To better understand these differences, we must first examine the distinct physiological and acoustic differences which come when one raises or lowers their larynx in singing.

Without delving too deeply into the pedagogy, it would be helpful to have at least a basic understanding of the source mechanism (vocal folds) and its filters (resonators). The vocal folds are housed within the larynx (made up of cartilage and other connective tissues).

There are seven resonators involved in sound amplification; two below the folds and five above.21 The two main spaces of importance for our study are the oral cavity and the pharynx (which includes the nasopharynx). As the vocal folds vibrate they produce a sound wave, which is defined as a fundamental frequency (F0). Equally spaced frequencies above that fundamental frequency are harmonics that occur as multiples of the fundamental (ex.

If F0 = 200Hz, then H1=400Hz, H2=600Hz, etc). These sound waves travel into the pharynx and oral cavity where they are either dampened or enhanced with the end product

21Rosenberg, Marci Daniels, and Wendy DeLeo LeBorgne. The Vocal Athlete : Application and Technique for the Hybrid Singer (California: Plural Publishing, 2014), (87).

being acoustic resonances measured as formant frequencies. Basically, the pharyngeal and oral spaces have optimal resonating frequencies based upon their shapes and sizes which are influenced by vowel choice, oral aperture, pharyngeal expansion, and laryngeal height.

For example, if one were to blow into a soda bottle, the resultant sound will resonate at a certain frequency based upon the amount of liquid therein. While the cavity (bottle) remains static, the amount of liquid will determine the size of the resonating cavity. The oral cavity and pharynx are similar but infinitely more flexible regarding size, shape, posture, and position. The sound generated at the source will be modified with larger spaces, influencing lower formant frequencies that will resonate as a perceived richer sound; smaller spaces will create higher formant frequencies, that resonate as perceived brighter sound. In their excellent book, The Vocal Athlete, authors LeBorgne and

Rosenberg sum up well how sounds (frequencies or vibrations) travel through the vocal tract:

1. Formants decrease uniformly if the length of the vocal tract increases, and the formants will raise uniformly if the vocal tract length is shortened. There are two primary ways to alter the length of the vocal tract. First, lip spreading shortens the vocal tract, thus raising the formants and resulting in a brighter sound quality. Conversely, rounding the lips lowers all the formants, resulting in a darker timbre. The vocal tract length can also be modified by altering the laryngeal position. An elevated larynx shortens the vocal tract, and lowering the larynx lengthens the vocal tract. 2. Constriction of the oral cavity lowers F1 and raises F2, resulting in more space between these first two formants and creating a more diffuse vowel spectrum with more energy spread out over low and high frequencies (i.e., /i/). 3 .Pharyngeal constriction raises F1 and lowers F2, resulting in less acoustic energy spread out (i.e., /a/).22

Voice production is also dependent upon an exquisite interplay of thirteen intrinsic

22 Ibid. (91).

laryngeal muscles, six paired and one single. These muscles support vocal fold adduction, abduction, tension, and relaxation. Additionally, four pairs of extrinsic laryngeal muscles are responsible for elevating the larynx in the neck, while an additional five pairs are responsible for lowering or depressing the larynx. Two antagonistic intrinsic laryngeal muscle pairs are most important for the purposes of the this study. They are the cricothyroid (CT) and the thyroarytenoid (TA) muscles. The CT tilts the thyroid cartilage anteriorly forward around the pivot formed by the cricothyroid joint. Since the vocal folds are attached to the internal angle of the thyroid cartilage anteriorly and the arytenoid cartilages (which sit on the cricoid cartilages) posteriorly, the tilting of the thyroid cartilage causes the vocal folds to elongate. This action stretches, thins, and stiffens the vocal folds, increasing both length and the tension, thus producing increased pitch and sounds that are commonly associated with head voice and falsetto in men. The TA is responsible for relaxing, shortening, and thickening the vocal folds by drawing the arytenoid cartilages forward toward the thyroid cartilage, thus producing lower pitch and sound that is commonly associated with chest voice. Broadway ‘tenors’ employ greater use of the cricothyroid (CT), which is used for head voice function, though in the lower parts of their range, the medial body of the thyro-arytenoid (TA), or vocalis, is dominant over cricothyroid muscle activity. This dominance results in a strong glottal adduction with the vocal folds being closed for a larger percentage of the ‘vibratory cycle.’ In addition to intrinsic muscle activity, higher and lower positions of the larynx in the neck are influenced by the extrinsic laryngeal muscles, and contribute to the color of the voice being produced.

Understood in layman’s terms, the Broadway ‘tenor’ has a low laryngeal position for the low notes employing a more dominant TA activity, while when singing in the upper

registers, a more dominant CT function (less TA) and a higher laryngeal position are used.

The resulting sound is one that more closely resembles speaking.

Considering both the acoustical and muscular phenomenon that occur while producing either the Broadway or Classical sound it’s easy to see why a shift took place for the tenor on Broadway. The culture of musical theatre and the public’s desire to be told a story through song enhanced the importance of communicating through the text and ultimately understanding the words. Singing with a greater TA dominant technique (classical) vowel modification is necessary to match the formants to the fundamental frequency in the higher parts of the range. For this to happen, tenors above the staff are not as easily understood in terms of their diction, and are more concerned with ‘carry’ or power of the voice since within the world of opera, there is no amplification. On Broadway, carry wasn’t necessary with the advent of technology and microphones. Communication became the goal and not thrust of sound. Thus, roles for the tenor became lower and lower with no need to sing above the staff. More and more music was written lower and lower thereby employing more TA dominant vocal production and thus opening the door for lower voiced men taking the place of the higher voiced men, the tenors.

Chapter 3

Technology

As we have already stated, the accepted method of singing until shortly after the turn of the century, was a vibrato based vocalism based on the Bel Canto school of singing. The main reason for this was projection. Larger orchestras and concert halls demanded singers to be able to project and be heard above the cacophony of sound. However, an invention in 1876 would soon change the course the history: the microphone.23 Today microphones and amplification are used everywhere from sporting events to concert performances, on Broadway, on radio, in film, and are now even used in vocal studios.

This single invention along with technological advancements in amplification and sound enhancement have revolutionized the world of popular musical and all musical theatre.

The natural style of singing folk, popular, jazz, and non-Western was now a viable form of entertainment. “Microphones were introduced sometime around 1924; that year

President Coolidge demonstrated the new device by broadcasting a live address to

Congress over the radio. The next year, microphones and the electrical recording process replaced the acoustic horn that had been used to make phonograph recordings since

1877.” 24 Initially, microphones were set on stage and forced the performers to have to stand in a specific area thereby limiting their acting and movement. In the 1960’s wireless transmitters were invented allowing the singer to move around, turn up stage and be heard, or even dance and sing. At first these transmitters were cumbersome and the

23 Marek, Dan H. Singing: the first art (Lanham, Md: The Scarecrow Press, 2007), (62). 24 Grant, Mark N. The Rise and Fall of the Broadway Musical (Northeastern University Press, 2004), (40).

quality was very low oftentimes picking up the rubbing of their clothing or even the police transmissions.25 Imagine singing for a roomful of people, versus a concert hall built for thousands; a very different technique is required.

This leads us to the size of the orchestra. If a singer doesn’t have to compete with the orchestra or fill a grand hall, then there is no need to sing in a higher range. This fact is likely to have influenced the composers of the time as well. Crowds were smaller, halls were smaller, orchestras smaller…why have a tenor singing at the top of lungs and range, when that wasn’t necessary? In order to keep a tenor from being a caricature of himself, composers kept tenors in a comfortable, let’s say, speaking range for singing. This affirms what was happening in other genres as well. Jazz, blues and gospel were popular forms of entertainment during this period in America as was crooning and popular standards. Communication was key, and this was much more easily achieved when singers sang in a range that more resembled speaking. Even more influential than house size, orchestra size, or lower singing range was the invention of the microphone. Most of the developments in the singing style, particularly the tenor voice, were dependent on the artful use of the microphone and its amplification of the voice. Not only did the amplification allow for the projection of the voice to large halls, but it also enabled singers to make expressive and intimate sounds and use them as part of their repertoire.

This led to the proliferation of low voices. “Non-projected singing styles now commonly used in the theatre include those associated with folk and non-Western music; the

25 Salzman, Eric, and Thomas Dézsy. The new music theater: seeing the voice, hearing the body (Oxford: Oxford University Press, 2009), (22-23).

familiar throaty half-voices of pop, blues, and jazz styles; and various forms of the traditional mid-range theatrical belt.”26 Other genres such as radio, television and movies also helped to influence and inform the styles and techniques used on Broadway. One of the most significant contributors to microphone technique was Bing Crosby. “More than any other single performer, Crosby invented singing for the microphone, expanding the term crooning to encompass an undreamt-of expressive palette, singing softly but not only softly.” 27

As a result, with the onset and advancement of technology, vocal projection and resonance was no longer or required in order to be heard. The most unique aspect of a tenor voice is its ability to phonate and project in a range far above the normal speaking range. With the prevalence of audio technology in the theatre, this part of the tenor voice was no longer necessary, nor was the technique needed to support it (low laryngeal Bel

Canto). Consequently, singers with less training, and most likely baritones began to fill the roles of the traditional ‘tenor’ role. This seemingly became the norm throughout

Broadway’s Golden Age into present day. However, technology, though a very big component, was only one facet of the change. “In musical theater, a subdivision of the tenor, called the baritenor, reigns. This voice type is someone with the power to project in the middle voice and the higher, ringing money notes of the tenor.”28 Composers, even before the advent of amplification, were writing roles solely within the speaking range.

26 Ibid (24). 27 Grant, Mark N. The Rise and Fall of the Broadway Musical (Northeastern University Press; Boston, 2004), (40). 28 Phillips, Pamelia S. Singing For Dummies , 2nd Edition. John Wiley & Sons, 2010.

Chapter 4

The Composers

The most influential individual within the theatre (besides the performers) are those who compose the music. They are the ones who allow us to leave the theatre humming a melody, or sear a moment into our psyche. Simply put, without a composer, there would be no music to sing. Conversely, without a librettist, there would be no words to sing.

As we recall from the history of AMT, words took on a greater and more prominent role within in the theatre. Audiences wanted to understand what was being said; they wanted to be entertained. This meant composers writing more and more within the speaking range for their leading men and ladies. As Mark N. Grant writes, composers changed the

‘vocal compass’ as they changed the vocal range. The vocal compass was a term he assigned to the range between the highest and lowest note of a role. In addition, the tessitura and range was lowered so that the lyrics could be better understood. Vibrato based vocalism gave way to a more consonant based type of singing where lyrics and communication took precedent over beauty of sound. One can thus derive from the historical context we’ve drawn to this point, that the different musical tastes of theatre goers had a very large impact on the style of writing by the composers; and vice versa as well. From George M. Cohan, who coined the ‘conversational lyric’ and nationalistic tunes, to Victor Herbert and his melodies and lyricism, to Jerome Kern and the Princess

Theatre Musicals, Broadway composers reshaped this new genre and style into something special and unique. Lehman Engel describes it as:

By the mid-twenties….the new roles created by the younger generation did not need opera singers, neither their techniques nor ranges, and almost certainly without meaning to do so,

these young writers were vaguely envisioning another kind of vocal style....For want

of a better label, let’s call this then-new style “non-singing.” Anyone who sang “I Want to

Be Happy” or “I Get a Kick Out of You” or “I’m Bidin’ My Time” like “Musetta’s Waltz”

from La Bohemè was definitely way-out-wrong.29

Additionally, composers even helped to shape the singers themselves. George Gershwin is famous for saying to Ethel Merman upon hearing her rendition of I’ve Got Rhythm, at the interval came back to tell her that she should ‘never to take a singing lesson or it would ruin her.’30 Composers obviously played a very significant role in shaping AMT in the ‘early years and continue to do so today.

29 Engel, L. Getting Started in the Theater: A Handbook for Breaking into Show Business (New York: MacMillan, 1973), (86). 30 C. Flinn, Brass Diva: The Life and Legends of Ethel Merman (Berkeley: University of California Press, 2009), (33).

Chapter 5

The Musicals and Analysis

My survey of the tenor range will examine ten of the most popular opera arias, several early and late operetta songs, and ten popular musical solos ranging from the 20’s through the present day.

First, we will determine the total vocal range (vocal compass) of the role for tenor. Next we will look at the tessitura, recalling that the tessitura is the range where the singer resides for most of the performance.

Vocal Comparisons

Opera

Name Song title Composer Range Tessitura

La Che gelida manina G. Puccini F3-C5 A3-F4

Boheme

Rigoletto La donna è mobile G. Verdi F#3-B4 B3-F#4m

Tosca Recondita armonia G. Puccini F3-Bb4 D4-A4

Carmen La fleur que tu m’avais G. Bizet E3-Bb4 Ab3-Ab4

jetée

Turandot Nessun dorma G. Puccini D3-B4 D4-A4

I Puritani A te o cara V. Bellini A3-C#5 A3-A4

Operetta

Name Song title Composer Range Tessitura

Pirates Oh is there not one Gilbert F3=Bb4 Ab3-F4 of maiden breast and

Penzance Sullivan

The Wie eine Rosenknospe F. Lehar D3-C5 C4-A4

Merry

Widow

The Serenade S. C3-C5 G3-G4

Student Romberg

Prince

Broadway Name Song Composer Range Tessitura

Showboat You are Love J. Kern B2-Ab4 (Entire F3-F4

Role)

South Younger than Springtime R. E3-G4 A3-F4

Pacific Rodgers

My Fair On the Street Where You F. Loewe C3-F4 F3-F4

Lady Live

How to I Believe in You F. Loesser F3-G4 A3-F4

Succeed in

Business

West Side Maria L. A#2-A#4 E3-E4

Story Bernstein

Les Bring Him Home Claude- E3-A4/A2-A4 E3-E4

Miserables Michel (Entire Role)

Schönberg

Phantom Music of the Night Andrew Ab2-Ab4 D3-D4 of the Lloyd

Opera Webber

Discussion and Conclusion

After analyzing over twenty pieces of music from the last one hundred plus years it is stating the obvious to say that a major shift in range and tessitura has occurred. This downward shift did not only happen from the operatic/operetta model to the American

Musical Theatre model, but also within AMT itself. Was it the need to understand the words? Was it a desire to be able to relate to the singer more closely because they

‘sounded’ or sang more like the person sitting in the theatre; untrained and common?

Were composers schooled differently and not know how to write for the voice? Was it technology alone that replaced the need to develop projection so that a human voice could be heard over an entire orchestra and fill a theatre? The answer to all these questions is a resounding YES! Now singers do not have to project over an entire orchestra because AMT relies solely on the use of technology and microphones, and has been doing so for the past half century plus. Most composers have not been schooled in the art of singing as their predecessors had been in the previous century and presently write within a style of pop, jazz, Disney, and other contemporary styles that often time requires little or no training at all. Finally, that initial need to understand the performer, to relate to their leading man, launched the initial reaction to cast lower voiced men as the lead who then took the place of the tenor on Broadway. Tenors were relegated to that of

‘comedic second bananas’ while the leading men were almost always baritones.31 A shift has happened and the tenor voice on Broadway is not utilized to its fullest potential. In

31 Grant, Mark N. The Rise and Fall of the Broadway Musical (Northeastern University Press, 2004), (28).

fact, as I have shown, the tenor is a wolf in sheep’s clothing. He is a baritone masquerading as a tenor by allowing his larynx to elevate and thus creating the impression that he possesses a higher, brighter and lighter sound when in fact, he is a baritone with a rich and full low voice.

Knowing this fact, perhaps we can begin to rewrite our philosophical narrative where the tenor is always the hero and gets the girl, and the baritone his evil foil. What does that do to our paradigm now that the tenor and baritone are symbiotically joined together into one voice?

I believe at the very least it should start a dialogue as to the ramifications pedagogically and the codification of a new school of dissemination in order to better equip the

Broadway singer. Classically trained teachers trying to solely force the Bel Canto technique onto the naïve and eager student with no consideration for the history or this

‘new’ style is a recipe for failure. I am guilty of this myself. The history is overwhelming and unambiguous. The duty now lies with voice teacher to educate themselves in regards to Contemporary Commercial Music and musical theatre; the style as well as the voice types. The challenges one faces in this profession are many.

Ignorance of voice types doesn’t need to be counted among them.

My conclusion moving forward is to suggest that we codify a new fach system for

Broadway so that we may better train singers for the world that lies ahead of them. I don’t believe it hinders a singer to provide an initial training in the Bel Canto method of the Italian School. Having established a healthy foundation of breath support, and a well- rounded understanding of the extrinsic and intrinsic muscles of the larynx, then and only then can singers continue in their studies of other styles and genres.

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Vita

GREGORY TURAY

EDUCATION ▪ D.M.A. University of Kentucky – 2017 (Expected) ▪ M.M. University of Kentucky - 2011 ▪ B.M. University of Kentucky – 1996

TEACHING • Centre College-Alltech Artist in Residence in Voice 2016-Present • Private Voice • Opera Workshop • Masterclasses • Opera History, Diction Classes • University of Kentucky – Artist in Residence 2009-2016 • Private Voice • Repertoire Class • Opera Workshop • Operatic Performances • Recitals • Asbury University – Adjunct Voice Professor 2015/2016 • Private Voice • Repertoire Class • Opera Workshop

• Transylvania University – Kenan Visiting Artist in Music 2012-2014 • Private Voice • Voice Class • Opera Workshop • Master-classes • Young Concert Artists/1998-2001 • Master-classes • Workshops • Private Studio, New York City/2005-2009 • Private Studio, Lexington, KY/ 2009-Present • Producer for private and public events • Patriotic Concert Downtown Lexington 2017 • Alltech Symposium 2016/2017 • Thy Will Be Done Oratorio • Directing • Amahl and Night Visitors 2014/2015 • Opera Workshop Scenes • Schmidt Opera Outreach Program 2013-2016

ROLES ▪ La Boheme Rodolfo ▪ Merry Widow Camille ▪ L’Elisir D’Amore Nemorino ▪ Don Pasquale Ernesto ▪ Rigoletto Il Duca ▪ Street Scene Sam ▪ Les Pecheurs de Perles Nadir ▪ A View From the Bridge Rodolpho ▪ Die Entfürung Belmonte ▪ Fidelio Jaquino ▪ Cosi fan Tutte Ferrando ▪ Boris Godunov Grigory ▪ Don Giovanni Don Ottavio ▪ Orfeo Orfeo ▪ Die Zauberflöte Tamino ▪ Ariadne auf Naxos Brighella ▪ La Traviata Alfredo ▪ Jenufa Steva ▪ Roméo et Juliette Roméo ▪ Makropolous Case Janek ▪ Falstaff Fenton ▪ Les Troyens Hylas

▪ Lucia di Lamermoor Arturo ▪ Moses und Aaron Jüngling ▪ Katya Kabanova Kudrjas ▪ Armida Clotarco ▪ Der Rosenkavalier Italian Singer ▪ Roméo et Juliette Tybalt ▪ Carmen Remendado ▪ West Side Story Tony

OPERA HOUSES ▪ Metropolitan Opera ▪ English National Opera ▪ Lyric Opera of Chicago ▪ Welsh National Opera ▪ San Francisco Opera ▪ El Escorial Opera, Spain ▪ Washington National Opera ▪ Deutsche Oper, Berlin ▪ Boston Lyric Opera ▪ Wroclaw Opera, Poland ▪ Santa Fe Opera ▪ Netherlands Opera ▪ Cincinnati Opera ▪ Saito Kinen Festival, Japan ▪ Opera Theatre of St. Louis ▪ Bordeaux Opera ▪ Michigan Opera Theatre ▪ New National Theatre, Tokyo ▪ Palm Beach Opera ▪ Spoleto Festival, Charleston ▪ Central City Opera ▪ Wolf Trap Opera ▪ Kentucky Opera

CONCERT VENUES

▪ Boston Symphony ▪ Lincoln Center ▪ Houston Symphony ▪ San Francisco Symphony ▪ Cleveland Symphony ▪ Lima Symphony ▪ St. Louis Symphony ▪ Eerie Symphony ▪ Tanglewood ▪ Washington National Symphony ▪ Ravinia ▪ Memphis Symphony ▪ Minneapolis Symphony ▪ Kennedy Center Honors Symphony ▪ Jacksonville Symphony ▪ Evansville Symphony ▪ Chautauqua Festival Symphony ▪ Indianapolis Symphony ▪ Carnegie Hall ▪ Johnson City Symphony

RECITAL VENUES ▪ 92ND Street Y, New York ▪ YCA Series – Diamond Concert ▪ Orchestra New England ▪ Port Washington Library Concert ▪ Wolf Trap Performing Arts Series ▪ Tuesday Musical Club Artist Series ▪ Supreme Court Justice Musicale ▪ Palm Springs Desert Museum Series ▪ Carnegie Hall ▪ Marilyn Horned Foundation Recital ▪ Western Michigan University Concert Series Series ▪ University of Georgia Concert Series ▪ Wappinger Falls Concert Series

AWARDS ▪ Richard Tucker Award 2000 ▪ D’Angelo Competition Winner ▪ Metropolitan LYDP Winner ▪ Young Concert Artists Award ▪ Richard Gaddes Award Winner Winner ▪ Catherine Pope Foundation Award ▪ London Foundation Award Winner Winner ▪ University of Kentucky Alumni Awar