音乐剧杂食的声音:对百老汇社区精英声乐教师的采访

Pub Date : 2023-04-03 DOI:10.1386/smt_00112_1
Guro von Germeten
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引用次数: 0

摘要

本文探讨了如何在音乐剧声乐教学中理解和运用当代音乐剧声乐行为和声乐美学的多元性。对百老汇社区六位精英声音教师的采访进行了分析,并将其置于“杂食性声音”的概念框架中(基于社会学家理查德·彼得森关于文化杂食性的著作和社会学家安托万·亨尼恩关于品味的著作);本文还运用了布劳恩和克拉克的反身性主题分析。本文产生并讨论了四个中心主题:(1)理解杂食性的语码转换和形状转换是声音的基本潜力;(2)通过仔细关注声音信息来操纵声音的杂食性;(3)在杂食性的声音世界中寻找真实性;(4)在音乐风格和流派之外扩展和多样化声乐美学。本文对音乐剧表演艺术教育学和声音训练领域做出了贡献,旨在提供关于声乐技术和声乐美学是如何受到声音存在的社区和社会的影响、在其中教授和在对话中创造的见解。最后一个问题在2019冠状病毒病大流行的背景下得到了特别探讨。
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Musical theatre’s omnivorous voice: Interviews with elite voice teachers in the Broadway community
This article explores how the pluralities of vocal behaviours and vocal aesthetics in present-day musical theatre are understood and manoeuvred in the context of teaching musical theatre voice. Transcribed interviews with six elite voice teachers in the Broadway community are analysed and placed into a conceptual framework of the ‘omnivorous voice’ (based on sociologist Richard Peterson’s writings on cultural omnivorousness and sociologist Antoine Hennion’s writings on tastes); the article also engages with Braun and Clarke’s reflexive thematic analysis. Four central themes are generated and discussed: (1) understanding omnivorous code-switching and shape-shifting as a fundamental potential of the voice, (2) manoeuvring vocal omnivorousness by carefully attending to sonic information, (3) searching for authenticity in an omnivorous vocal world and (4) expanding and diversifying vocal aesthetics beyond musical styles and genres. This article contributes to the fields of performing arts pedagogy and voice training in musical theatre, and aims to provide insights into how vocal technique and vocal aesthetics are influenced by, taught in, and created in dialogue with the communities and societies in which our voices exist. The last is especially explored in light of the COVID-19 pandemic.
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