The omnivorous voice: exploring the pluralities of vocal behaviours, vocal aesthetics, and vocal tastes in contemporary (American) musical theatre
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Abschlussarbeit Buch |
| Sprache: | English |
| Veröffentlicht: |
Oslo
Norwegian Academy of Music
2023
|
| Schriftenreihe: | NMH publications
2023:8 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | xv, 208 Seiten Illustration |
| ISBN: | 9788278533307 |
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| adam_text | Contents Prologue iii Acknowledgements vi Abstract ix Sammendrag x Published works by the author as part of this dissertation xiv Presentations by the author relevant to the dissertation xv 1 Introduction 1 1.1 1.2 1.3 1.4 4 6 8 1.5 Problem statement and research questions Why singing? Situating the thesis within practice-based research Why vocal tastes? On me as a researcher, teacher, and performer On the spelling of musical theatre and the implementation of significant terms On the structure of this thesis 2 The context of this thesis and its relation to previous research 2.1 2.2 2.3 2.4 2.5 2.6 2.7 Musical theatre as an academic field Researching musical theatre beyond Broadway Research into training the musical theatre vocal performer Research on the human voice and its labelings Research on training the voice across genres On the vocal language implemented in this thesis Researching the musical theatre voice’s social side 3 3.1 3.2 3.3 10 12 14 14 15 17 18 20 21 25 Theoretical framework(s): Cultural omnivorousness and the pragmatics of tastes 27 Petersons cultural omnivore and the tasting heritage of Bourdieu Doing tastes, or the pragmatics of tastes by Hennion Combining the two frameworks in and through practice 27 31 33 xi
3.4 The performer’s body in tasting: Toward a concept of the omnivorous voice 35 4 Methodology 39 4.1 4.2 4.3 The methodological plurality of this thesis Ontology, epistemology, and ethics The action research-inspired fieldwork 39 40 43 4.3.1 4.3.2 4.3.3 4.3.4 Choosing the musical theatre works Designing the study Data collection and analysis Analyzing the data with Hennion s thinkings 43 47 48 49 4.4 Interviewing elite voice teachers in the Broadway community 50 4.4.1 4.4.2 The interviews Doing reflexive thematic analysis 51 53 4.5 On the validity and credibility of this thesis as a whole 54 5 Summary of the articles 57 5.1 5.2 5.3 5.4 Voicing omnivorousness, assembling the omnivorous voice: The American musical explored Exploring original cast recordings as “vocal scripts”: Navigating “vocal omnivorousness” and learning “the sungs” of musical theatre We are also music lovers: Testing vocal tastes in higher musical theatre education Musical theatres omnivorous voice: Interviews with elite voice teachers in the Broadway community 57 58 59 60 6 Discussions 61 6.1 6.2 6.3 6.4 6.5 6.6 Vocal omnivorousness as manifestation of employability Vocal omnivorousness as enabler of vocal artistic agency Vocal omnivorousness and a search for authenticity (How) does taste matter in training the musical theatre voice? Taste and the formation of vocal-musical genres, styles, and traditions Expanding (vocal) omnivorousness beyond genre and style 61 64 66 68 71 74 6.6.1 6.6.2 Musical theatre voice and White supremacy Gender-neutral voice training 75 78 6.7 Teaching and learning the
omnivorous voice: Toward vocal eclecticism or a vocal specialization of its own? Musicalification of voice in contemporary musical theatre 79 82 6.8 xii
7 Concluding remarks 85 7.1 7.2 7.3 7.4 Contributions to, and implications for, the field of music education Contributions to, and implications for, the field of cultural sociology Contribution to, and implications for, the field of musicology Contribution to, and implications for, the field of voice studies 85 86 87 87 8 References 89 Articles 111 Article 1 Article 2 Article 3 Article 4 113 135 153 171 Appendices 189 Illustrations Illustration 1: An overview of Complete Vocal Technique. Printed with courtesy from Shout Production. 24 Tables Table 1: The three action research cycles and course content. 48 xiii
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| adam_txt |
Contents Prologue iii Acknowledgements vi Abstract ix Sammendrag x Published works by the author as part of this dissertation xiv Presentations by the author relevant to the dissertation xv 1 Introduction 1 1.1 1.2 1.3 1.4 4 6 8 1.5 Problem statement and research questions Why singing? Situating the thesis within practice-based research Why vocal tastes? On me as a researcher, teacher, and performer On the spelling of musical theatre and the implementation of significant terms On the structure of this thesis 2 The context of this thesis and its relation to previous research 2.1 2.2 2.3 2.4 2.5 2.6 2.7 Musical theatre as an academic field Researching musical theatre beyond Broadway Research into training the musical theatre vocal performer Research on the human voice and its labelings Research on training the voice across genres On the vocal language implemented in this thesis Researching the musical theatre voice’s social side 3 3.1 3.2 3.3 10 12 14 14 15 17 18 20 21 25 Theoretical framework(s): Cultural omnivorousness and the pragmatics of tastes 27 Petersons cultural omnivore and the tasting heritage of Bourdieu Doing tastes, or the pragmatics of tastes by Hennion Combining the two frameworks in and through practice 27 31 33 xi
3.4 The performer’s body in tasting: Toward a concept of the omnivorous voice 35 4 Methodology 39 4.1 4.2 4.3 The methodological plurality of this thesis Ontology, epistemology, and ethics The action research-inspired fieldwork 39 40 43 4.3.1 4.3.2 4.3.3 4.3.4 Choosing the musical theatre works Designing the study Data collection and analysis Analyzing the data with Hennion's thinkings 43 47 48 49 4.4 Interviewing elite voice teachers in the Broadway community 50 4.4.1 4.4.2 The interviews Doing reflexive thematic analysis 51 53 4.5 On the validity and credibility of this thesis as a whole 54 5 Summary of the articles 57 5.1 5.2 5.3 5.4 Voicing omnivorousness, assembling the omnivorous voice: The American musical explored Exploring original cast recordings as “vocal scripts”: Navigating “vocal omnivorousness” and learning “the sungs” of musical theatre We are also music lovers: Testing vocal tastes in higher musical theatre education Musical theatres omnivorous voice: Interviews with elite voice teachers in the Broadway community 57 58 59 60 6 Discussions 61 6.1 6.2 6.3 6.4 6.5 6.6 Vocal omnivorousness as manifestation of employability Vocal omnivorousness as enabler of vocal artistic agency Vocal omnivorousness and a search for authenticity (How) does taste matter in training the musical theatre voice? Taste and the formation of vocal-musical genres, styles, and traditions Expanding (vocal) omnivorousness beyond genre and style 61 64 66 68 71 74 6.6.1 6.6.2 Musical theatre voice and White supremacy Gender-neutral voice training 75 78 6.7 Teaching and learning the
omnivorous voice: Toward vocal eclecticism or a vocal specialization of its own? Musicalification of voice in contemporary musical theatre 79 82 6.8 xii
7 Concluding remarks 85 7.1 7.2 7.3 7.4 Contributions to, and implications for, the field of music education Contributions to, and implications for, the field of cultural sociology Contribution to, and implications for, the field of musicology Contribution to, and implications for, the field of voice studies 85 86 87 87 8 References 89 Articles 111 Article 1 Article 2 Article 3 Article 4 113 135 153 171 Appendices 189 Illustrations Illustration 1: An overview of Complete Vocal Technique. Printed with courtesy from Shout Production. 24 Tables Table 1: The three action research cycles and course content. 48 xiii |
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| spelling | Germeten, Guro von 1980- Verfasser (DE-588)1252394543 aut The omnivorous voice exploring the pluralities of vocal behaviours, vocal aesthetics, and vocal tastes in contemporary (American) musical theatre Guro von Germeten theater Oslo Norwegian Academy of Music 2023 xv, 208 Seiten Illustration txt rdacontent n rdamedia nc rdacarrier NMH publications 2023:8 Dissertation Norwegian Academy of Music 2023 Tekst på engelsk, sammendrag på engelsk og på norsk Musikproduktion (DE-588)4235850-4 gnd rswk-swf Musical (DE-588)4040801-2 gnd rswk-swf Ästhetik (DE-588)4000626-8 gnd rswk-swf Gesang (DE-588)4020470-4 gnd rswk-swf Singstimme (DE-588)4156941-6 gnd rswk-swf USA (DE-588)4078704-7 gnd rswk-swf Broadway New York, NY (DE-588)4075359-1 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content USA (DE-588)4078704-7 g Broadway New York, NY (DE-588)4075359-1 g Musical (DE-588)4040801-2 s Musikproduktion (DE-588)4235850-4 s Singstimme (DE-588)4156941-6 s Gesang (DE-588)4020470-4 s Ästhetik (DE-588)4000626-8 s DE-604 Norges Musikkhøgskole (DE-588)1089124-9 isb Erscheint auch als Online-Ausgabe 978-82-7853-331-4 NMH publications 2023:8 (DE-604)BV000010710 2023,8 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034843656&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | The omnivorous voice exploring the pluralities of vocal behaviours, vocal aesthetics, and vocal tastes in contemporary (American) musical theatre |
| title_alt | Guro von Germeten theater |
| title_auth | The omnivorous voice exploring the pluralities of vocal behaviours, vocal aesthetics, and vocal tastes in contemporary (American) musical theatre |
| title_exact_search | The omnivorous voice exploring the pluralities of vocal behaviours, vocal aesthetics, and vocal tastes in contemporary (American) musical theatre |
| title_exact_search_txtP | The omnivorous voice exploring the pluralities of vocal behaviours, vocal aesthetics, and vocal tastes in contemporary (American) musical theatre |
| title_full | The omnivorous voice exploring the pluralities of vocal behaviours, vocal aesthetics, and vocal tastes in contemporary (American) musical theatre |
| title_fullStr | The omnivorous voice exploring the pluralities of vocal behaviours, vocal aesthetics, and vocal tastes in contemporary (American) musical theatre |
| title_full_unstemmed | The omnivorous voice exploring the pluralities of vocal behaviours, vocal aesthetics, and vocal tastes in contemporary (American) musical theatre |
| title_short | The omnivorous voice |
| title_sort | the omnivorous voice exploring the pluralities of vocal behaviours vocal aesthetics and vocal tastes in contemporary american musical theatre |
| title_sub | exploring the pluralities of vocal behaviours, vocal aesthetics, and vocal tastes in contemporary (American) musical theatre |
| topic | Musikproduktion (DE-588)4235850-4 gnd Musical (DE-588)4040801-2 gnd Ästhetik (DE-588)4000626-8 gnd Gesang (DE-588)4020470-4 gnd Singstimme (DE-588)4156941-6 gnd |
| topic_facet | Musikproduktion Musical Ästhetik Gesang Singstimme USA Broadway New York, NY Hochschulschrift |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034843656&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV000010710 |
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