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Andrew Neil Zimmerman-Siegfried Goes to College

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Andrew Neil Zimmerman-Siegfried Goes to College Siegfried Goes to College: Transforming a Heldentenor into a Recital Baritone by Andrew Neil Zimmerman _____________________________ A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2010 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Andrew Neil Zimmerman entitled Siegfried Goes to College: Transforming a Heldentenor into a Recital Baritone and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts _________________________________________________ Date: 12/09/2009 Grayson Hirst _________________________________________________ Date: 12/09/2009 Charles Roe _________________________________________________ Date: 12/09/2009 Kristin Dauphinais Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. _________________________________________________ Date: 12/09/2009 Document Director: Grayson Hirst 3 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in his or her judgment the proposed use of the material is in the interests of scholarship. In all other instances, however, permission must be obtained from the author. SIGNED: Andrew Neil Zimmerman 4 ACKNOWLEDGEMENTS The author would like to acknowledge the generous contribution of advice, time and effort from his committee members. They are Grayson Hirst, Charles Roe, Kristin Dauphinais, Marsha Bagwell and Monte Ralstin. He would like to acknowledge the patient and unwavering support of his family. 5 DEDICATION The author would like to dedicate this document to his many teachers and colleagues over the years, who have generously shared with him their profound knowledge and love of vocal culture. 6 TABLE OF CONTENTS LIST OF ILLUSTRATIONS AND TABLES..................................................................8 ABSTRACT....................................................................................................................9 I. INTRODUCTION......................................................................................................10 Justification for This Study...................................................................................10 Relevance to Existing Literature...........................................................................11 Goals and Assumptions ........................................................................................14 II. ART SONG PERFORMANCE.................................................................................17 The Intimacy of Art Song.....................................................................................17 Art Song in Pedagogy...........................................................................................21 III. PERFORMING AS A HELDENTENOR ................................................................23 The Heldentenor Specialization............................................................................23 The Combination of Long and Loud.....................................................................25 The Development of Wagner's Orchestra..............................................................35 The Exacerbation of Acoustical Challenges since Wagner's Death .......................42 IV. THE ACOUSTICS OF AUDIBILITY.....................................................................45 Primary Sources and Introduction.........................................................................45 Breath ..................................................................................................................47 The Vocal Source.................................................................................................53 Resonance and Formant Theory ...........................................................................65 7 TABLE OF CONTENTS - Continued The Singer’s Formant...........................................................................................71 Resonance and Auditory Identification of Vocal Category....................................76 The Relationship of Color to Stamina: Schlank Singing........................................79 V. METHOD FOR TRANSITION TO RECITAL BARITONE ....................................83 Methodology for the Development of Exercises ...................................................83 For Whom This Method Is Intended.....................................................................84 Changing Vocal Identity.......................................................................................86 Technical Strategies and Exercises .......................................................................90 Using These Exercises in Practice ......................................................................109 VI. CONCLUSION.....................................................................................................113 VII. APPENDIX .........................................................................................................115 1. Example of Wagner’s Orchestration: Excerpt from “Nothung”.......................114 2. Table of Wagner’s Orchestras.........................................................................117 3. VoceVista Comparisons of Musical Samples..................................................121 4. Approach to Repertoire...................................................................................138 REFERENCES............................................................................................................154 8 LIST OF TABLES AND ILLUSTRATIONS Figure Page 1. Male Passaggio after Richard Miller .........................................................................29 2. Illustration of the Mechanisms of the Source-Filter Theory........................................47 3. Graph Showing Influence of Breath Pressure on MFDR ............................................60 4. Graph Showing Influence of Registration on MFDR..................................................61 5. Graph Showing Influence of Narrowed Epilaryngeal tube on MFDR.........................62 6. Graph of “Vowel Islands”..........................................................................................67 7. Titze’s Representation of Spaces of the Vocal Tract ..................................................74 8. Cleveland’s Table Listing Formant Tuning’s of Male Vocal Categories.....................77 9. Titze’s Chart of Expansions and Contractions in the Vocal Tract...............................94 and Associated Qualities of Timbre 9 ABSTRACT Typically, the art song recital is a performance event of primary importance within the university environment; however, the career Heldentenor entering academia may find that the aggressiveness of timbre and the scale of loudness he has developed to sing Wagner’s heavily orchestrated, very long roles are inappropriate for the performance of most art song repertoire. If the Heldentenor possesses an appropriate pitch structure, he can adapt his technique to sing as a baritone and develop the warmth of timbre and nuance of expression appropriate to the intimate qualities of recital performance. Art song recital performance conditions and those of some Wagnerian tenor roles are described and contrasted, emphasizing the acoustical challenges and demands upon stamina that drive the Heldentenor toward specialization. The acoustics of audibility and voice type are described. A method for adapting the Heldentenor to recital baritone is presented, incorporating exercises developed from the acoustical principles examined within this document. Examples are presented of power spectra and the application of these techniques to repertoire, documenting the efficacy of the author’s method in adapting the Heldentenor from the least intimate of repertoires to the most refined. 10 I. INTRODUCTION Justification for this Study Often professional singers of dramatic repertoire integrate into the academic environment. However such a transition may require changes in repertoire and vocal category. Within the university’s recital oriented performance culture, the career Heldentenor may find that specific vocal characteristics he has developed to be able to sing the heaviest of tenor roles are inappropriate for the relative delicacy of most art song literature. The brilliance of timbre and the loudness of dynamic scale the Heldentenor develops to be able to project effectively while singing in the narrowly specialized Heldentenor Stimmfach1 does not transfer well to the subtleties of art song. This paper will attempt to demonstrate that some Heldentenors can alter their vocal technique to enable them to sing
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