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Singing in Action an Inquiry Into the Creative Working Processes and Practices of Classical and Contemporary Vocal Improvisation

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Singing in Action an Inquiry Into the Creative Working Processes and Practices of Classical and Contemporary Vocal Improvisation Singing in Action An inquiry into the creative working processes and practices of classical and contemporary vocal improvisation SARA WILÉN FACULTY OF PERFORMING ARTS | MALMÖ ACADEMY OF MUSIC | LUND UNIVERSITY Singing in Action 1 2 Singing in Action An inquiry into the creative working processes and practices of classical and contemporary vocal improvisation Sara Wilén 3 Cover photo by Copyright Sara Wilén Faculty of Performing Arts Malmö Academy of Music ISBN 978-91-88409-10-2 ISSN 1653-8617 Doctoral Studies and Research in Fine and Performing Arts Printed in Sweden by Media-Tryck, Lund University Lund 2017 4 For my family … our concept of ‘the original’, of ‘the song’, simply makes no sense in oral tradition (Lord, 2003, p. 101). 5 Table of Contents List of video examples .................................................................................... 10 List of tables ................................................................................................... 11 List of figures ................................................................................................. 11 Abstract ..................................................................................................................... 12 Chaos in the birdhouse ............................................................................................ 14 Project design ............................................................................................................. 16 Articles ........................................................................................................... 17 A digital archive ............................................................................................. 18 Purpose and aims ..................................................................................................... 18 Delimitations ................................................................................................. 20 Classical and contemporary vocal improvisation (CCVI) .............................. 20 CCVI in context ......................................................................................................... 24 Improvisation as artistic practice: tradition, interaction and skills ................. 24 The historical roots of Western musical improvisation ................................. 28 Development of modern theatre and opera improvisation ............................ 31 Relations between music, text and action in opera ........................................ 34 Representing outer actions through music..................................................... 35 Musical structure as inner action ................................................................... 38 Research on and in vocal performance ........................................................... 39 Choir, solo and improvisation – my musical background .............................. 43 Artistic methods ...................................................................................................... 45 The operatic approach: opera improvisation .................................................. 46 Opera improvisation techniques .................................................................... 54 The concert approach: lyrical improvisation .................................................. 58 Lyrical improvisation techniques ................................................................... 60 The concert format: CCVI without words in dialogue with visual art .......... 62 Artistic research as situated processes: performativity, action and situation(s) ................ 65 Situatedness ................................................................................................... 66 A multilayered process ................................................................................... 67 Analytical points of departure ................................................................................. 69 Gender and performativity............................................................................. 70 6 Tropes as intertextual and interperformative play .......................................... 73 Humour as dialogical, performative trope ..................................................... 76 Framing and subject position ......................................................................... 79 The singer’s subject position in performance ................................................. 82 The performing singer as persona(e) ............................................................. 85 Action and situation in vocal stage performance ..................................................... 90 Presence and focus ......................................................................................... 92 Intention, circumstances, vocal and musical actions ...................................... 93 The vocal performer and the audience ........................................................... 99 Projects and analyses ................................................................................................. 101 Performative situations in CCVI ................................................................. 101 Improvisation opera projects ........................................................................ 106 Concert improvisation experimentations ..................................................... 113 Improvisation in higher classical music education ....................................... 122 Dialogues ............................................................................................................... 125 Stimulated recall method ............................................................................. 126 I. Results of the interview investigation ⎯ presence, relations and traditions 131 II. The improvisers’ inner images ..................................................................... 137 III. Action analysis .......................................................................................... 144 IV. Interplay analysis ....................................................................................... 146 V. Performative tropes ...................................................................................... 155 Deconstruction of performative bodies and voices ...................................... 155 Musical tropes .............................................................................................. 157 Character and status tropes .......................................................................... 160 Humour ....................................................................................................... 162 Conclusions .............................................................................................................. 166 A performative kaleidoscope: a summary of the project ........................................ 166 CCVI in action: a play with musical and performative tropes .............................. 168 Action, tropes and flow ................................................................................ 168 Musical troping as a communicative tool in CCVI ..................................... 170 Bridging the gap – performative tropes as turns .......................................... 174 CCVI as a performative platform .......................................................................... 176 An improvisatory approach: challenging the habitus of the classical singer 178 Towards a performative approach ................................................................ 182 References ................................................................................................................ 185 Project production information ................................................................... 194 Chronological list of CCVI projects and performances (examples) ............ 194 7 Article 1 Singing in action- intertextual and interperformative play in opera improvisation ........................................................................................................... 197 Article 2 In search of oscillating relations – power, gender, remix in operatic performance ............................................................................................................. 213 Article 3 A kaleidoscope of interactions – researching and presenting processes of opera improvisation .................................................................................................. 235 Article 4 Knowing in action: opera improvisation as a tool for critical creative development for classical singers ................................................................................ 263 Article 5 Classical vocal improvisation in context: the musical canon, gender and creativity ................................................................................................................... 288 8 1 Before you start reading, please take a look at this video. Video example 1: A Kaleidoscope of improvisations https://www.youtube.com/watch?v=4KRlHeflkzc&feature=youtu.be 1 The non-English films are texted in English on Youtube. 9 List of video examples Video example 1: A Kaleidoscope of improvisations Video example 2: Miss Krappelstein (Fröken Krappelstein, my translation) from Last Minute Video example 3: Glass (Glas, my translation) Video example 4: Walpurgis Fire (Valborgsbål, my translation) Video example 5: Vernissage Video example 6: Bricolage Opera Nova – power, love, remix (Opera Nova – makt, kärlek, remix, my translation)
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