Statistical data suggests that through media like radio, television and streaming, the music listening public engages with the output of singer-songwriters (SSWs) on a daily basis (Surveyspro, 2016). The singer is key to this engagement, yet existing scholarly discussion is focused primarily on industry and non-industry, etic views/perspectives of SSWs as a group (Bentley, 2016; Holman Jones, 2007; Jackson, 2007; King, 2012; Lanksford Jr, 2010; Potter & Sorrell, 2012; Reynolds, 2009; Rogers, 2016; Whiteley, 2000; Williams & Williams, 2016; Zollo, 1958, Zollo, 2016). Beyond the suggestion that for SSWs the process of singing their own original songs is comparable to singing covers of other artists’ compositions, the existing literature offers little discussion on the singer component within the musical product of the singersongwriter craft. In this paper, we propose that, whilst the singers’ process in creating a vocal performance on any song (original or cover) could be considered similar in terms of voice production, there are deeper considerations for SSWs and consequently, for the teachers who oversee their voice training.
{"title":"A Singer-Songwriter's Approach to Vocal Performance of Their Original Songs: An insider's view","authors":"Laine Loxlea-Danann, Irene Bartlett","doi":"10.56307/tdmq4857","DOIUrl":"https://doi.org/10.56307/tdmq4857","url":null,"abstract":"Statistical data suggests that through media like radio, television and streaming, the music listening public engages with the output of singer-songwriters (SSWs) on a daily basis (Surveyspro, 2016). The singer is key to this engagement, yet existing scholarly discussion is focused primarily on industry and non-industry, etic views/perspectives of SSWs as a group (Bentley, 2016; Holman Jones, 2007; Jackson, 2007; King, 2012; Lanksford Jr, 2010; Potter & Sorrell, 2012; Reynolds, 2009; Rogers, 2016; Whiteley, 2000; Williams & Williams, 2016; Zollo, 1958, Zollo, 2016). Beyond the suggestion that for SSWs the process of singing their own original songs is comparable to singing covers of other artists’ compositions, the existing literature offers little discussion on the singer component within the musical product of the singersongwriter craft. In this paper, we propose that, whilst the singers’ process in creating a vocal performance on any song (original or cover) could be considered similar in terms of voice production, there are deeper considerations for SSWs and consequently, for the teachers who oversee their voice training.","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122933464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Although live theatrical performances combining music, spoken dialogue, songs, acting and dance have existed since ancient times, modern Western musical theatre (colloquially, “musicals”) emerged in the 19th century. There is an increasing interest in analysing, understanding and researching American musicals. British and European music theatre is also gathering a stronger profile academically. However, it is less well-known that Australia has a large and richly varied music theatre history. Singing teachers, vocal coaches and singers working in music theatre constantly seek to expand repertoire, especially solo material suitable for use in auditions. Lack of research attention and a dearth of readily available published scores have resulted in few performances of solo songs from the growing canon of Australian music theatre. A serious investigation, interrogating suitability and availability of the scores of Australian music theatre works, is long overdue. This paper seeks, in some small way, to commence the process.
{"title":"Singing Our Songs: Celebrating Australian Music Theatre repertoire","authors":"P. Wilson","doi":"10.56307/bxzp3343","DOIUrl":"https://doi.org/10.56307/bxzp3343","url":null,"abstract":"Although live theatrical performances combining music, spoken dialogue, songs, acting and dance have existed since ancient times, modern Western musical theatre (colloquially, “musicals”) emerged in the 19th century. There is an increasing interest in analysing, understanding and researching American musicals. British and European music theatre is also gathering a stronger profile academically. However, it is less well-known that Australia has a large and richly varied music theatre history. Singing teachers, vocal coaches and singers working in music theatre constantly seek to expand repertoire, especially solo material suitable for use in auditions. Lack of research attention and a dearth of readily available published scores have resulted in few performances of solo songs from the growing canon of Australian music theatre. A serious investigation, interrogating suitability and availability of the scores of Australian music theatre works, is long overdue. This paper seeks, in some small way, to commence the process.","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116965297","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In order to meet the demands of the modern music industry, singers are expected to be able to perform across a wide range of singing styles (Bartlett, 2019; Rosenberg, 2016). Despite the growing acceptance of “contemporary commercial music” (CCM) and associated style-based pedagogies, there are limited training options for singers seeking to perform across a range of genres (Bourne & Kenny, 2016; Meyer & Edwards, 2014). As a practising multi-genre singer and teacher, I have experienced first-hand the challenges of performing and teaching across a spectrum of styles. My doctoral studies have focused my thinking on existing, genre-based teaching practices and how these might be synthesised to support multi-genre singers and teachers. This paper highlights preliminary findings from an artistic research project centred around an autoethnographic case study of genre-based teaching practices. Data were collected via journaling of video-recorded singing lessons, semi-structured interviews with participant singing teachers, instrumental and perceptual testing, pre and post data collection, and stroboscopic imagery collected via clinical visits with a medical specialist (ENT). The coding of the data set highlighted common themes including pedagogic tools and instructional language used by teachers, while pre and post measurements helped to evaluate possible vocal health impacts for performers.
{"title":"A Tale of Two Teaching Styles: A multi-genre singer's experience of music theatre and classical voice lessons","authors":"Helen Rae Glindemann","doi":"10.56307/hpoz5879","DOIUrl":"https://doi.org/10.56307/hpoz5879","url":null,"abstract":"In order to meet the demands of the modern music industry, singers are expected to be able to perform across a wide range of singing styles (Bartlett, 2019; Rosenberg, 2016). Despite the growing acceptance of “contemporary commercial music” (CCM) and associated style-based pedagogies, there are limited training options for singers seeking to perform across a range of genres (Bourne & Kenny, 2016; Meyer & Edwards, 2014). As a practising multi-genre singer and teacher, I have experienced first-hand the challenges of performing and teaching across a spectrum of styles. My doctoral studies have focused my thinking on existing, genre-based teaching practices and how these might be synthesised to support multi-genre singers and teachers. This paper highlights preliminary findings from an artistic research project centred around an autoethnographic case study of genre-based teaching practices. Data were collected via journaling of video-recorded singing lessons, semi-structured interviews with participant singing teachers, instrumental and perceptual testing, pre and post data collection, and stroboscopic imagery collected via clinical visits with a medical specialist (ENT). The coding of the data set highlighted common themes including pedagogic tools and instructional language used by teachers, while pre and post measurements helped to evaluate possible vocal health impacts for performers.","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131182565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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