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Imagined Vocalities: Exploring Voice in the Practice of Instrumental Music Performance

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Imagined Vocalities: Exploring Voice in the Practice of Instrumental Music Performance IMAGINED VOCALITIES: EXPLORING VOICE IN THE PRACTICE OF INSTRUMENTAL MUSIC PERFORMANCE KRISTINE ANNE HEALY A thesis submitted to the University of Huddersfield in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Huddersfield March 2018 Copyright statement i. The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the “Copyright”) and s/he has given The University of Huddersfield the right to use such copyright for any administrative, promotional, educational and/or teaching purposes. ii. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. iii. The ownership of any patents, designs, trademarks and any and all other intellectual property rights except for the Copyright (the “Intellectual Property Rights”) and any reproductions of copyright works, for example graphs and tables (“Reproductions”), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 Abstract To play an instrument in a way that is considered “vocal” has been an emblem of artistry for instrumental musicians in the Western classical tradition for centuries. Despite the ubiquity of vocal references in the talk and texts produced within this community, there is little consensus as to what vocality means for instrumental musicians, and few questions are asked of those who claim to advocate for a vocal style of playing. Whilst vocality for instrumentalists has been dealt with in existing scholarship through discussion about the emulation of specific techniques such as vibrato and portamento, by investigating the principles of rhetoric and their relationship to temporal and articulatory issues, and in philosophical commentary on vocality as an ideal to which instrumentalists aspire, attention has not yet been paid to how “voice” is produced and manipulated discursively by instrumental musicians in the social contexts of their professional lives. Therefore, this thesis explores some of the ways in which instrumental musicians construct vocality in contemporary discourse about the practice of performance. In this thesis, a series of excerpts from pedagogical texts on instrumental music performance written in the eighteenth, nineteenth, and twentieth centuries is presented to illuminate a discussion about vocality that has long been ongoing. Subsequently, a discourse approach is taken to the analysis of transcribed excerpts from four audio-visual recordings of instrumental masterclasses, alongside additional excerpts drawn from interviews with instrumental musicians and a variety of other contemporary texts. During the analytical process, two interpretative repertoires—recurring ways in which instrumental musicians construct vocality—are identified: the knowing voice and the disciplined voice. The discursive actions facilitated by musicians’ employment of these repertoires are examined in relation to the discourse excerpts. In response to this analysis, three claims are made. The first is that vocality is polysemic: it is constructed according to the social context and action-orientation of the discourse in which it is embedded. The second is that vocality is linked to the reproduction and naturalisation of normative musical practices. The third is that in musicians’ talk and texts, the construction of musical ideas is entangled with the construction of identities, and stories of voice provide especially rich material for authoring selves in the context of the masterclass. This thesis calls for expert performers to acknowledge, question, and engage critically with the ways in which they produce and perpetuate musical principles in their day-to-day practices, and for them to make space for developing musicians to do the same. 3 Table of Contents Abstract ................................................................................................................................ 3 List of Figures ........................................................................................................................ 7 Acknowledgements ............................................................................................................... 8 Introduction ........................................................................................................................ 11 1. Stories Already Told ........................................................................................................ 22 1.1 Voice.................................................................................................................. 23 1.1.1 Vocality ............................................................................................... 25 1.1.2 Material and Metaphor ....................................................................... 26 1.1.3 More Than Just Words ........................................................................ 26 1.1.4 Voice, Identity, Authenticity ................................................................ 27 1.2 Vocality for Instrumentalists .............................................................................. 30 1.3 “Other” Voices ................................................................................................... 40 1.4 Schubert and Wolfe ........................................................................................... 43 1.5 Arnie Cox and the Mimetic Hypothesis .............................................................. 46 1.6 Musicians’ Talk: Daniel Leech-Wilkinson and Helen Prior ................................... 49 1.7 The Masterclass as a Context for Research ........................................................ 51 2. Methodological Framework ............................................................................................ 57 2.1 Theory for Practitioners ..................................................................................... 58 2.2 A Social Constructionist Approach ..................................................................... 64 2.3 A Focus on Talk .................................................................................................. 67 2.4 Discourse Analysis.............................................................................................. 71 2.4.1 Jonathan Potter and Fact Construction ................................................ 74 2.4.2 Potter and Wetherell’s Interpretative Repertoires .............................. 75 2.4.3 James Gee’s Discourse Analysis Toolkit ............................................... 76 4 2.4.4 Figured Worlds .................................................................................... 77 2.5 Materials and Methods ...................................................................................... 80 2.5.1 Instrumental Performance Treatises ................................................... 80 2.5.2 Interviews ........................................................................................... 81 2.5.3 Masterclasses ...................................................................................... 84 2.6 Why Should Musicians Be Interested in Discourse? ........................................... 86 3. Historical Voices: Vocality in Pedagogical Texts ............................................................... 88 3.1 A Starting Point .................................................................................................. 90 3.2 Singing on the Instrument: A Multi-Faceted Goal ............................................... 95 3.3 Speaking on the Instrument: The Instrumental Musician as Orator .................. 116 3.4 Concluding Thoughts ....................................................................................... 123 Producing Voice in the Present ......................................................................................... 125 4. Sing to Find the Music ................................................................................................... 126 4.1 Interview with Cameron (French horn) ............................................................ 131 4.2 Interview with Henry (Bass trombone)............................................................. 139 4.3 Additional Interviewees ................................................................................... 142 4.4 Horn Masterclass: Really Sing, Really Project ................................................... 146 4.5 Clarinet Masterclass: You’re Gonna Have to Sing That ..................................... 154 4.6 Analytical Interlude: Constructions of Voice ..................................................... 158 5. Singing Like a Singer Sings: Technical Borrowings and Creative Connections ................. 163 5.1 Violin Masterclass: All Mozart is Opera ............................................................ 164 5.1.1 Selected Interviewee Responses ....................................................... 176 5.2 Flute Masterclass: My Instrument is the Closest to the Human Voice .............. 185 6. Discussion and Some Propositions................................................................................
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