THE IMPACT OF GENRE FUSION AND IMPROVISATIONAL ELEMENTS IN 21ST-CENTURY OPERAS ON VOCAL PEDAGOGY AND PERFORMANCE PRACTICE

Simple item page
dc.contributor.advisorBalthrop, Carmenen_US
dc.contributor.authorDuBose, Sequinaen_US
dc.contributor.departmentMusicen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.date.accessioned2020-02-01T06:31:00Z
dc.date.available2020-02-01T06:31:00Z
dc.date.issued2019en_US
dc.description.abstractIn the 21st century, opera composers are expanding beyond traditional boundaries by incorporating improvisatory elements and musical style elements from non-classical genres. The purpose of this study is to point to the impact these trends will have on vocal pedagogy and performance practice. The opening chapters of the dissertation provide historical context by examining the role of improvisation in the Baroque era and beyond, along with details concerning key shifts in audience culture, vocal aesthetic and performance practice throughout history. Chapter two also incorporates narratives from key industry practitioners, voice pedagogue Dr. Rachelle Fleming, and American Opera Projects Artistic Director, Mila Henry. Chapter three consists of a discussion of the research methodology and the key researchers and methodologists that influenced the study. This study is a narrative inquiry that employs an analysis of narrative approach and paradigmatic reasoning in its analysis, inducing themes and relationships between the concepts that reveal themselves in the data and literature. Chapter four includes narrative research and analysis based on interviews that have been conducted with composers and singers from four innovative operas: Charlie Parker’s Yardbird (Daniel Schynder), I Dream: A Rhythm and Blues Opera (Douglas Tappin), Blue Viola (Peter Hilliard), and The Mile-Long Opera: a biography of 7 o’clock (David Lang; the composer intentionally uses lowercase script in the titles of his works). Each composer and singer offers a unique perspective regarding the interpretation of and preparation for contemporary operatic works and furthers the argument that academic voice programs will benefit from an expanded curriculum that prepares singers to meet the evolving demands of the opera industry. The final chapter provides personal testimony from the author and suggested vocal and dramatic exercises for incorporating improvisation in a manner that may be of use in university opera workshops, group voice classes, and voice studios. This body of research documents the stylistic and technical considerations that modern opera singers and teachers take into account in order to branch out and explore operatic works that have genre-bending and/or improvisative elements. Based on the findings from this study it is recommended that voice teachers cross-train by teaching classically trained singers to adapt their singing methods to various styles.en_US
dc.identifierhttps://doi.org/10.13016/rkh4-vewe
dc.identifier.urihttp://hdl.handle.net/1903/25357
dc.language.isoenen_US
dc.subject.pqcontrolledPerforming artsen_US
dc.subject.pqcontrolledMusicen_US
dc.subject.pqcontrolledMusic educationen_US
dc.subject.pquncontrolled21st-Centuryen_US
dc.subject.pquncontrolledGenre Fusionen_US
dc.subject.pquncontrolledImprovisationen_US
dc.subject.pquncontrolledOperaen_US
dc.subject.pquncontrolledPerformance Practiceen_US
dc.subject.pquncontrolledVocal Pedagogyen_US
dc.titleTHE IMPACT OF GENRE FUSION AND IMPROVISATIONAL ELEMENTS IN 21ST-CENTURY OPERAS ON VOCAL PEDAGOGY AND PERFORMANCE PRACTICEen_US
dc.typeDissertationen_US

Files

Original bundle
Now showing 1 - 1 of 1
Thumbnail Image
Name:
DuBose_umd_0117E_20114.pdf
Size:
2.24 MB
Format:
Adobe Portable Document Format
Download

Collections

UMD Theses and Dissertations
Music Theses and Dissertations