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A Voice in the Choir

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A Voice in the Choir A Voice in the Choir: Modernizing the Language and Practice of Voice Pedagogy in the Choral Culture Jennifer M. Rodgers A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2020 Reading Committee: Geoffrey Boers, Chair Giselle Wyers J. Christopher Roberts Program Authorized to Offer Degree: School of Music ©Copyright 2020 Jennifer M. Rodgers University of Washington Abstract A VOICE IN THE CHOIR: MODERNIZING THE LANGUAGE AND PRACTICE OF VOICE PEDAGOGY IN THE CHORAL CULTURE Jennifer M. Rodgers Chair of the Supervisory Committee: Dr. Geoffrey Boers School of Music Advancement and language in contemporary voice pedagogy have shifted significantly in the twenty-first century, and practitioners have raised concerns about updated understanding and application in the choral setting. Additionally, solo and choral voice professionals have regularly identified and deliberated over areas of divergent sound ideals and technical demands. A comparative study of contemporary language in fact-based voice pedagogy was conducted and synthesized to reflect recommended language among expert practitioners for use among all instructors of singing in solo and choral voice, followed by specific adjustments and applications needed in the choral setting. As the study progressed, two significant findings emerged: (1) aligned understanding and use of contemporary voice pedagogy is consistently found among academic choral conductors and in contemporary choral pedagogy sources; and (2) this shared understanding only partially addresses the needs and technical demands of choral singing. In response, the author defines choral and solo singing as parallel music cultures within “studied voice.” As such, further research and resources dedicated to choral voice pedagogy are defined and recommended. Contents Acknowledgments ....................................................................................................................... viii List of Tables and Figures .............................................................................................................. ix Chapter 1: Introduction ................................................................................................................ 1 Parallel Cultures within Western Music ...................................................................................... 2 Voice Science - The Great Neutralizer ........................................................................................ 4 Defining the Field of Voice Professionals ................................................................................... 7 Generations of Contemporary Practitioners .............................................................................. 14 Chapter 2: Review of Literature ................................................................................................ 18 Comparative Voice Pedagogy ................................................................................................... 18 The Impact of Scientific Basis .................................................................................................. 23 Calls for Language Standardization .......................................................................................... 26 Literature Relating Choral and Solo Studied Voice Pedagogy ................................................. 28 Chapter 3: Statement of the Project .......................................................................................... 35 Specific Scope and Limitations ................................................................................................. 37 Additional Limitations ............................................................................................................... 43 Part I- Comparative Study of Language in Contemporary Voice Pedagogy Chapter 4: Contemporary Understanding and Language of Respiration ............................. 46 Categorical and Systematic Terminology ................................................................................. 47 The Enduring and Debated Term of Appoggio ......................................................................... 48 Language of Inhalation – Part One (Within the Torso) ............................................................. 50 The Diaphragm: A Case Study of How Language Becomes Legend ....................................... 56 Language of Inhalation – Part Two (Above the Torso) ............................................................ 60 Language of Exhalation ............................................................................................................. 63 Summary .................................................................................................................................... 68 Chapter 5: Contemporary Understanding and Language of Phonation ............................... 74 Categorical and Systematic Terminology ................................................................................. 74 Language of Laryngeal Function ............................................................................................... 78 Language of Onset/Offset and Phonation Modes ...................................................................... 81 Language of Intensity ................................................................................................................ 85 Vibrato and Parallel Cultures .................................................................................................... 87 Language of Registration .......................................................................................................... 93 Summary .................................................................................................................................... 99 Chapter 6: Contemporary Understanding and Language of Resonation ............................ 104 Categorical and Systematic Terminology ............................................................................... 105 The Vocal Tract ....................................................................................................................... 106 Timbre, Tone, and Color ......................................................................................................... 117 Vowels and Vowel Modification ............................................................................................. 124 Summary .................................................................................................................................. 129 Part II - Contemporary Language in the Choral Setting Chapter 7: Defining the Culture of Choral Studied Voice .................................................... 136 History of Choral Sound in America ....................................................................................... 139 Nature of the Choral Culture ................................................................................................... 145 The Ensemble Setting .............................................................................................................. 151 Summary .................................................................................................................................. 157 Chapter 8: The Language of Choral Voice Instruction ......................................................... 158 Analysis of Contemporary Pedagogical Language in the Choral Context .............................. 160 Top Takeaways for Choral Language ..................................................................................... 166 Guidelines for Effective Communication ................................................................................ 172 Chapter 9: Conclusion .............................................................................................................. 177 New Perspectives on Choral Voice Practitioners .................................................................... 179 Opportunities for Future Research .......................................................................................... 180 Appendix A - Comparison of History, Nature, and Focus Among Voice Disciplines ................. 184 Appendix B - Credentials of Contributors to the Comparative Study ......................................... 185 Bibliography ................................................................................................................................ 188 Secondary Sources ................................................................................................................... 195 Acknowledgments It was not until the end of this dissertation process that I realized it is simply about things I am passionate about—good communication, deep relationship, and fully-embodied music- making. Before I could recognize this, I had to get comfortable with new challenges—areas of technical knowledge that seemed previously inaccessible, the deeply quiet, solitary environment of scholarly writing, and entry into an arena where the individual language and methods of so many talented and dedicated artists have made common ground hard to establish. My mentors and peers during my doctoral study gave me the ability to find peace and purpose with these challenges. From Geoffrey Boers, among so many other things, I have a whole new toolkit that includes asking, “what is now possible?” and infinite ways of connecting my gifts with my scholarship. From Giselle Wyers, permission
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