DOCSLIB.ORG

Vocal Agility in the Male Adolescent Changing Voice

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Missouri: MOspace VOCAL AGILITY IN THE MALE ADOLESCENT CHANGING VOICE A Dissertation presented to the Faculty of the Graduate School University of Missouri—Columbia In Partial Fulfillment Of the Requirements for the Degree Doctor of Philosophy by Sally Hook Dr. Wendy Sims, Dissertation Supervisor December, 2005 © Copyright by Sally Hook 2005 All Rights Reserved The undersigned, appointed by the Dean of the Graduate School, Have examined the dissertation entitled. VOCAL AGILITY IN THE MALE ADOLESCENT CHANGING VOICE Presented by Sally Hook A candidate for the degree of Doctor of Philosophy And hereby certify that in their opinion it is worthy of acceptance. DEDICATION This document is lovingly dedicated to my husband, Marty, who gave me emotional support, technological advice, and educational wisdom throughout this process. ACKNOWLEDGEMENTS I would like to thank my advisor, Dr. Wendy Sims, for sharing her excellent teaching and research skills; Dr. Martin Bergee, for his advice and wisdom; and my other committee members for their help. I would also like to thank Dr. David Rayl, who helped instill the spark of this research topic. Several area educators assisted in the data- gathering process: Briana Belding, Ed Hanson, Ken Jeffs, Melanie Ledbetter, Beth Luetjen, Christy Keilholz, Judy McCaw, James Melton, Cheryl Nichols, Mike Pierson, Melissa Straw, Dr. Fran Wells, and Claude Westfall. Additionally, I would like to thank all of the boys who were participants in this study. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS................................................................................................ ii LIST OF FIGURES ........................................................................................................... iii LIST OF TABLES............................................................................................................. iv ABSTRACT.........................................................................................................................v Chapter 1. INTRODUCTION ...................................................................................................1 Background of the Study Need for the Study The Problem Significance of the Study Purpose of the Study Definitions Limitations Structure of the Report 2. REVIEW OF LITERATURE ................................................................................11 Philosophies of Voice Use during Mutation Identifying and Charting Vocal Ranges Vocal Phenomena during Voice Change Predictability and the Voice Change Pedagogical Methods for Adolescents during Voice Change The Need for Agility Research in the Changing Voice Vocal Agility in Adult Voices iii Agility and the Vocal Mechanism Summary 3. METHOD ..............................................................................................................45 Method Participants Independent Variables Dependent Variable Procedures 4. RESULTS ..............................................................................................................61 Null Hypotheses Analysis for Cooksey Range Stages Analysis for Cooper Range Stages Agility and Choral Experience Summary 5. DISCUSSION........................................................................................................80 Early Observations Stages/Categories Lyrics Tempo Choral Experience Additional Observations: Lessons, Intonation, Registers Participant Strategies Implications for Music Education iv Suggestions for Future Research Summary Closing APPENDIX A. RANGE CHARTS.................................................................................................98 B. LETTERS OF INFORMED CONSENT.............................................................103 C. STUDENT QUESTIONNAIRE..........................................................................106 D. VOCALISE..........................................................................................................108 E. RANDOMIZED ORDER OF PARTICIPANTS.................................................111 F. CERTAIN, MODULATING, UNCERTAIN SINGERS RESULTS..................114 G. AGILITY ADJUDICATION FORM ..................................................................116 REFERENCES ................................................................................................................118 VITA ..............................................................................................................................130 v LIST OF FIGURES Figure Page 1. Figure 1: Graph of the Means of the Lyrics by Tempo Interaction (all participants) ................................................69 2. Figure 2: Graph of the Means of the Lyrics by Tempo by Cooksey Stage Interaction..............................................71 3. Figure 3: Graph of the Means of the Lyrics by Tempo by Cooper Category Interaction ..........................................75 vi LIST OF TABLES Table Page 1. Agility Adjudication Rubric ..................................................................................58 2. Interjudge Reliability Correlations for Each Tempo with Lyrics Category......................................................................................................59 3. Interjudge Reliability Correlations for Each Tempo without Lyrics Category......................................................................................................59 4. Means and Standard Deviations by Cooksey Stages, Lyrics, and Tempi ............................................................................................ 64-65 5. Summary Table: Repeated Measure ANOVA Comparing Cooksey Stages by Lyrics and Tempi....................................................................67 6. Means and Standard Deviations for Vocalises Sung With and Without Lyrics (Cooksey)......................................................................68 7. Means and Standard Deviations Contributing to the Lyrics by Tempo Interaction.............................................................................................70 8. Means and Standard Deviations by Cooper Categories, Lyrics, And Tempi .............................................................................................................73 9. Summary Table: Repeated Measure ANOVA Comparing Cooper Categories by Lyrics and Tempi ..............................................................76 vii VOCAL AGILITY IN THE MALE ADOLESCENT CHANGING VOICE Sally Hook Dr. Wendy Sims, Dissertation Supervisor ABSTRACT This study was designed to investigate agility in adolescent changing voice males. Participants (N = 58), 11.5 to 15.9 years old, were from six Midwestern schools. The boys had varied experience in school and/or community choirs. Participants each were assigned to one of five stages of vocal maturation according to Cooksey’s range stages, and to one of the two Cooper cambiata/baritone categories. These assignments were based on the participant’s lowest terminal range pitch, and other observed tone quality factors. Each participant was recorded while singing a stepwise song pattern at increasing tempi, with and without lyrics. Judges later listened to the randomized recordings, and assigned agility scores for each participant at each of the six tempi, with and without lyrics. Agility scores were statistically analyzed with a 3-way ANOVA. Results were that (a) mean agility scores were increasingly higher from Cooksey stage one through stage five, (b) scores were significantly higher with lyrics than without lyrics, (c) there were significant differences related to tempo, with slower tempi associated with higher scores, and (d) there was a significantly positive relationship between mean agility scores and participants’ years of choral experience. A summary of the findings was that: 1. Boys in progressively later stages of voice change were judged to be increasingly more agile (singing a stepwise melisma) than in earlier stages, on average. viii 2. Differences between cambiata and baritone were statistically significant for Cooper's range categories, but not for Cooksey’s five stages of voice change. 3. Agility was more accurate when lyrics were employed, than when “ahhh” was used to sing the stepwise exercises. 4. Agility decreased as tempo increased. 5. Agility correlated positively with years of choral experience. Implications for music educators include: 1. If very fast passages exist in solo or choral repertoire, boys in the earlier midvoice Cooksey voice range stages (or Cooper’s cambiata category) may have more difficulty than boys in later stages (baritone) of voice change. 2. Songs using lyrics (consonant and vowel combinations) may be easier for changing voice boys to sing accurately, as compared to melismatic songs or passages using a single vowel. 3. As the tempo increases, changing voice students may have more difficulty with vocal agility. 4. Choral repertoire such as European Baroque music may be more accessible as changing voice boys’ choral experience increases. ix CHAPTER ONE Introduction Male adolescent singers experience vocal problems unique to their developmental level. People all over the world are aware of the special “rite of passage” from childhood to adulthood that all normal young males go through as they begin to mature during puberty. Young males, usually ten to sixteen years of age, begin to notice primary and secondary sexual characteristic changes that are results of natural
Recommended publications
  • The Eagle High School Choral Union

    The Eagle High School Choral Union

    The Eagle High School Choral Union End of Year Concert, Part One April 6, 2021 7:30 PM EHS Gymnasium Seth McMullen, Director of Choirs Laurann Taylor & Zach Davies, Piano Megan Ward, Bass Matthew Seideman, Percussion Concert Choir The Handsome Butcher, Matyas Seiber from “Three Hungarian Folk Songs” Traditional Hungarian Folk Elijah Dan Davison Text based on I Kings 18:18-38 Bella Voce Shout for Joy Dan Davison Text from Psalm 98:4-8 I Am Not Yours David Childs Text by Sara Teasdale Sung in English: I am not yours, not lost in you not lost, although I long to be lost in you Lost as a candle lit at noon, lost as a snowflake in the sea You love me, and I find you still a spirit beautiful and bright Yet I am I who long to be lost as a light is lost, lost in light Oh plunge me deep in love, put out my senses – leave me deaf and blind! Swept by the tempest of your love, a taper in a rushing wind. Bring Me Little Water, Silvy Huddie W. “Leadbelly” Ledbetter arr. Moira Smiley Premium Blend Haven’t We Met Ruth Batchelor & Kenny Rankin arr. Rosana Eckert Natasha Deutsche, Talia Murphy, Easton Fabrizio, Tomo Lin Soli Quartet Eric Larsen, Vocal Improvisation Underneath the Stars Kate Rusby arr. Jim Clements Abi Freeman Premium Blend, continued She Will Be Loved Adam Levine & James Valentine arr. Deke Sharon & Robert Dietz Easton Fabrizio, Eric Larsen, Abi Freeman, Natasha Deutsche, Tomo Lin, Jayden Sorenson, Seth Galbraith, Jake Davies, Talia Murphy, Amber Deutsche Let’s Sing Again Jimmy McHugh arr.
  • Treble Voices in Choral Music

    Treble Voices in Choral Music

    loft is shown by the absence of the con• gregation: Bach and Maria Barbara were Treble Voices In Choral Music: only practicing and church was not even in session! WOMEN, MEN, BOYS, OR CASTRATI? There were certain places where wo• men were allowed to perform reltgious TIMOTHY MOUNT in a "Gloria" and "Credo" by Guillaume music: these were the convents, cloisters, Legrant in 1426. Giant choir books, large and religious schools for girls. Nuns were 2147 South Mallul, #5 enough for an entire chorus to see, were permitted to sing choral music (obvious• Anaheim, California 92802 first made in Italy in the middle and the ly, for high voices only) among them• second half of the 15th century. In selves and even for invited audiences. England, choral music began about 1430 This practice was established in the with the English polyphonic carol. Middle Ages when the music was limited Born in Princeton, New Jersey, Timo• to plainsong. Later, however, polyphonic thy Mount recently received his MA in Polyphonic choral music took its works were also performed. __ On his musi• choral conducting at California State cue from and developed out of the cal tour of Italy in 1770 Burney describes University, Fullerton, where he was a stu• Gregorian unison chorus; this ex• several conservatorios or music schools dent of Howard Swan. Undergraduate plains why the first choral music in Venice for girls. These schools must work was at the University of Michigan. occurs in the church and why secular not be confused with the vocational con• compositions are slow in taking up He has sung professionally with the opera servatories of today.
  • Children in Opera

    Children in Opera

    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
  • A Season of Thrilling Intrigue and Grand Spectacle –

    A Season of Thrilling Intrigue and Grand Spectacle –

    A Season of Thrilling Intrigue and Grand Spectacle – Angel Blue as MimÌ in La bohème Fidelio Rigoletto Love fuels a revolution in Beethoven’s The revenger becomes the revenged in Verdi’s monumental masterpiece. captivating drama. Greetings and welcome to our 2020–2021 season, which we are so excited to present. We always begin our planning process with our dreams, which you might say is a uniquely American Nixon in China Così fan tutte way of thinking. This season, our dreams have come true in Step behind “the week that changed the world” in Fidelity is frivolous—or is it?—in Mozart’s what we’re able to offer: John Adams’s opera ripped from the headlines. rom-com. Fidelio, to celebrate the 250th anniversary of Beethoven’s birth. Nixon in China by John Adams—the first time WNO is producing an opera by one of America’s foremost composers. A return to Russian music with Musorgsky’s epic, sweeping, spectacular Boris Godunov. Mozart’s gorgeous, complex, and Boris Godunov La bohème spiky view of love with Così fan tutte. Verdi’s masterpiece of The tapestry of Russia's history unfurls in Puccini’s tribute to young love soars with joy a family drama and revenge gone wrong in Rigoletto. And an Musorgsky’s tale of a tsar plagued by guilt. and heartbreak. audience favorite in our lavish production of La bohème, with two tremendous casts. Alongside all of this will continue our American Opera Initiative 20-minute operas in its 9th year. Our lineup of artists includes major stars, some of whom SPECIAL PRESENTATIONS we’re thrilled to bring to Washington for the first time, as well as emerging talents.
  • Florida State University Libraries

    Florida State University Libraries

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 John M. Cooksey: Choral Music Educator and Conductor Roger H. Hale Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC JOHN M. COOKSEY: CHORAL MUSIC EDUCATOR AND CONDUCTOR By ROGER H. HALE A Dissertati n submitted t the C llege f Music in partial fulfillment f the re,uirements f r the degree f D ct r f Phil s phy Degree A.arded: Summer Semester, 0112 The members f the C mmittee appr 3e the Dissertati n f R ger H. Hale defended n May 00, 0112. ____________________________________ Ke3in A. Fent n Pr fess r Directing Dissertati n ____________________________________ Christ pher M re Outside C mmittee Member ___________________________________ Andr5 J. Th mas C mmittee Member ____________________________________ Alice-Ann Darr . C mmittee Member The Graduate Sch l has 3erified and appr 3ed the ab 3e named c mmittee members. ii I dedicate this t my dear .ife KayDe, .h has pr 3ided supp rt at e3ery le3el during this pr 7ect. I c uld n t ha3e d ne it .ith ut y u8 iii ACKNOLEDGEMENTS This pr 7ect . uld n t ha3e been p ssible .ith ut the enc uragement and supp rt f many pe ple in my life. First, I . uld li9e t than9 my ma7 r pr fess r Dr. Ke3in Fent n, .h spent many h urs helping me thr ugh e3ery aspect f this pr 7ect.
  • Billy Budd Cast Biographies

    Billy Budd Cast Biographies

    Billy Budd Cast Biographies William Burden sang George Bailey in San Francisco Opera’s West Coast premiere of Jake Heggie’s It’s a Wonderful Life in fall 2018. The American tenor made his San Francisco Opera debut in 1992 as Count Lerma in Don Carlo and has returned in roles including Laca in Jenůfa, Tom Rakewell in The Rake’s Progress and he created the roles of Dan Hill in Christopher Theofanidis’ Heart of a Soldier and Peter in Mark Adamo’s The Gospel of Mary Magdalene. An alumnus of the San Francisco Opera’s Merola Opera Program, Burden is a member of the voice faculty at The Juilliard School and the Mannes School of Music. Appearing in prestigious opera houses in the United States and Europe, his repertoire also includes the title roles of Les Contes d'Hoffmann, Faust, Pelléas et Mélisande, Roméo et Juliette, Béatrice and Bénédict, Candide, and Acis and Galatea; Loge in Das Rheingold, Aschenbach in Death in Venice, Florestan in Fidelio, Don José in Carmen, Pylade in Iphigénie en Tauride, Edgardo in Lucia di Lammermoor, Ferrando in Così fan tutte and Lensky in Eugene Onegin. A supporter of new works, he appeared in the U.S. premiere of Henze’s Phaedra at Opera Philadelphia and created the roles of George Bailey at Houston Grand Opera, Frank Harris in Theodore Morrison's Oscar at the Santa Fe Opera, Gilbert Griffiths in Tobias Picker’s An American Tragedy at the Metropolitan Opera, Dodge in Daron Hagen’s Amelia at Seattle Opera, Ruben Iglesias in Jimmy López's Bel Canto at Lyric Opera of Chicago, and Nikolaus Sprink in Kevin Puts’ Pulitzer Prize-winning Silent Night at Minnesota Opera.
  • Blo 2021/22 Season Release Draft

    Blo 2021/22 Season Release Draft

    LIVE OPERA RETURNS THIS FALL, ALONGSIDE CINEMATIC INNOVATIONS THAT MAKE BLO AN INDUSTRY-LEADING PRODUCER Three new productions anchor an on-stage and on-screen season. J’Nai Bridges stars in “Cavalleria Rusticana” live on stage in October. Deborah Voigt’s 1991 BLO debut, “Ariadne auf Naxos,” available today on operabox.tv. BOSTON – MAY 20, 2021 – Boston Lyric Opera’s (BLO) 2021/22 Season marks a return to live, on-stage opera, and continuation of the company’s on-screen programming throughout the year. The new season is anchored by three new productions, and return of the BLO Street Stage, which brings live music to communities throughout the region. Acting General & Artistic Director Bradley Vernatter says the company has rethought the traditional notion of an opera season. “BLO is an active, year-round member of this community,” he says, “and we will make classical and contemporary operas accessible 365 days a year,” he says. “Audiences will be able to experience live performances in Boston and its surrounding communities, alongside BLO’s growing cinematic repertoire on our operabox.tv platform. From next month’s premiere of ‘desert in’ to classics like ‘Cavalleria Rusticana’ and ‘Ariadne auf Naxos,’ the breadth and diversity of our programming offer the full palette of what opera can be, and more accurately reflect our community onstage and onscreen.” After internal reflection, and discussions with Company leadership and the original creative team, BLO has changed previously announced plans to mount a new production of Puccini’s “Madama Butterfly.” Vernatter says the change reaffirms BLO’s commitment to creating inclusive environments and intentional storytelling for its audiences and its artists.
  • Singing for Two: Experiencing Pregnancy As a Classical Singer

    Singing for Two: Experiencing Pregnancy As a Classical Singer

    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.
  • Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church

    Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church

    THE CATHOLIC UNIVERSITY OF AMERICA Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church A TREATISE Submitted to the Faculty of the Benjamin T. Rome School of Music Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Musical Arts in Sacred Music © All Rights Reserved By Jennifer L. Seighman Washington, D.C. 2015 Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church Jennifer L. Seighman, D.M.A. Director: Leo Nestor, D.M.A. Choir schools have been an intrinsic part of the Catholic Church since the fourth century. While the Holy See has instructed that such schools and training be diligently promoted, few programs exist, and even less is known about them. This paper provides much-needed research on Catholic choir school programs and the benefits they offer to the twenty-first-century Church, particularly in bringing the musico-liturgical goals of the Second Vatican Council to fruition. Using a multi-case-study approach, I investigate the only known Catholic institutions in the United States currently employing a traditional choir school education of rigorous daily instruction in choir and sung liturgy: St. Paul’s Choir School (Cambridge, MA), The Madeleine Choir School (Salt Lake City, UT), and The Atonement Academy (San Antonio, TX). To formulate the framework for this study, a survey of related literature was made encompassing musico-liturgical directives of the Second Vatican Council, Church documents calling for chorister formation, papal writings, scholarly sources addressing sacred music within the Catholic Church, and various sets of education standards.
  • Character Breakdown

    Character Breakdown

    WEATHERVANE PLAYHOUSE 2015 WINTER PRODUCTION of CHESS Character Breakdown FLORENCE - strong belt voice (to E). Mid-thirties. Born in Hungary (so shouldn’t look like the “All-American Girl”); has been brought up in America since 1956. She is clever, theatrical, touching, vivacious, volatile. Frederick’s chess “second.” FREDDIE - Rock tenor (to C). Mid-thirties. An American chess champion. A cross between Bobby Fisher and John McEnroe. Arrogant and temperamental, but a genius; his chess playing revolutionary. We need to see his artistry along with his danger and his obsessiveness. ANATOLY - Baritone (to G sharp). Early forties. A Russian chess champion. Unexpectedly charming. He doesn't seem a romantic hero at first, but becomes one through his personality. An intelligent, feeling, passionate man. MOLOKOV - Bass (down to F sharp). Fifties. Not a fake, comic, stage Russian. Intellectually formidable. Seemingly a father figure to Florence. Anatoly’s chess “second.” An actor who sings well. SVETLANA - strong belt voice. Late thirties. Anatoly’s wife. Domestic, wholesome, homey. A dramatic contrast to Florence - not a contemporary cosmopolitan woman. WALTER - Bass-Baritone (down to G sharp). Fifties. A marketing agent. Seemingly respectable, substantial, trustworthy. An actor who sings well. ARBITER - rock high baritone (up to A). Thirty to early forties. International businessman. Smooth, but with a quick temper. YOUNG FLORENCE: Young version of Florence MALE & FEMALE ENSEMBLE: Requires a large chorus of very strong singers and actors CHESS Auditions: 10/10/15-10/11/15 CHESS Rehearsals & Performances: 12/2/15-12/27/15 For additional questions, please contact Kaitlin Brucker (Theatre Manager) or Adam Karsten (Managing Artistic Director) at [email protected], visit www.weathervaneplayhouse.org or call 740-366-4616.
  • Denver Area Post-World War Ii Suburbs

    Denver Area Post-World War Ii Suburbs

    Report No. CDOT-2011- 6 Final Report DENVER AREA POST-WORLD WAR II SUBURBS Bunyak Research Associates Front Range Research Associates, Inc. April 2011 COLORADO DEPARTMENT OF TRANSPORTATION APPLIED RESEARCH AND INNOVATION BRANCH The contents of this report reflect the views of the author(s), who is(are) responsible for the facts and accuracy of the data presented herein. The contents do not necessarily reflect the official views of the Colorado Department of Transportation or the Federal Highway Administration. This report does not constitute a standard, specification, or regulation. Technical Report Documentation Page 1. Report No. 2. Government Accession No. 3. Recipient's Catalog No. CDOT-2011-6 4. Title and Subtitle 5. Report Date DENVER AREA POST-WORLD WAR II SUBURBS February 2011 6. Performing Organization Code 7. Author(s) 8. Performing Organization Report No. Dawn Bunyak, Thomas H. and R. Laurie Simmons CDOT-2011-6 9. Performing Organization Name and Address 10. Work Unit No. (TRAIS) Bunyak Research Associates 10628 W. Roxbury Ave. 11. Contract or Grant No. 34.72 Littleton, CO 80127 Front Range Research Associates, Inc. 3635 W. 46th Ave. Denver, CO 80211 12. Sponsoring Agency Name and Address 13. Type of Report and Period Covered Colorado Department of Transportation - Research Final 4201 E. Arkansas Ave. Denver, CO 80222 14. Sponsoring Agency Code Also funded in part by a grant from the Colorado Historical Society 15. Supplementary Notes Prepared in cooperation with the US Department of Transportation, Federal Highway Administration 16. Abstract Historic Residential Subdivisions of Metropolitan Denver, 1940-1965, documents the development of mid-century suburbs in CDOT Region 6.
  • Low Male Voice Repertoire in Contemporary Musical Theatre: a Studio and Performance Guide of Selected Songs 1996-2020

    Low Male Voice Repertoire in Contemporary Musical Theatre: a Studio and Performance Guide of Selected Songs 1996-2020

    LOW MALE VOICE REPERTOIRE IN CONTEMPORARY MUSICAL THEATRE: A STUDIO AND PERFORMANCE GUIDE OF SELECTED SONGS 1996-2020 by Jeremy C. Gussin Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee __________________________________________ Ray Fellman, Research Director __________________________________________ Brian Gill, Chair __________________________________________ Jane Dutton __________________________________________ Peter Volpe December 10, 2020 ii Copyright © 2020 Jeremy Gussin iii Preface This project is intended to be a resource document for bass voices and teachers of low male voices at all levels. For the purposes of this document, I will make use of the established term low male voice (LMV) while acknowledging that there is a push for the removal of gender from voice classification in the industry out of respect for our trans, non-binary and gender fluid populations. In addition to analysis and summation of musical concepts and content found within each selection, each repertoire selection will include discussions of style, vocal technique, vocalism, and character in an effort to establish routes towards authenticity in the field of musical theatre over the last twenty five years. The explosion of online streaming and online sheet music resources over the last decade enable analysis involving original cast recordings, specific noteworthy performances, and discussions on transposition as it relates to the honoring of character and capability of an individual singer. My experiences with challenges as a young low voice (waiting for upper notes to develop, struggling with resonance strategies above a D♭4) with significant musicianship prowess left me searching for a musically challenging outlet outside of the Bel Canto aesthetic.