Australian art song (AAS) has a rich heritage spanning more than a century, which has led to a diverse and varied body of works. As with contemporary art song of any country, the repertoire suffers from a lack of public performances that would allow audiences to become more accustomed to it. The repertoire also offers other challenges to singers and singing teachers. These include repertoire often being original hand-copied scores, out-of-print scores containing new or unfamiliar vocal techniques or notation, plus the idea that 'melody' may be perceived differently to songs from a romantic lied. The aim of this study, therefore, was to find the most suitable pedagogical issues and frames by which both singers and singing teachers can more easily approach the learning, teaching and performance of contemporary Australian art song. The multi-dimensional perspective of the research is underpinned by a theoretical frame with an overarching pedagogical focus, which draws together the major scholarly influences brought to bear on the practice-led, practice-based aspects underpinning the research design. Participants in the study included Australian and International professional singers and singing teachers of contemporary art song. Four research questions focused on issues that inform the selection of contemporary art song repertoire for a recital/performance; what practice and learning strategies inform the learning, performing and teaching of contemporary art song; how singers and singing teachers might effectively apply the pedagogical outcomes (strategies)of the research; (and) how the pedagogical information can most effectively be presented and framed for singers and singing teachers so as to enable the most effective access to contemporary AAS. To respond to these questions, data were gathered through e-mail questionnaires with 14 professional singers (Phase one, 2006-2007), reflective journaling and interviews with four singers, four accompanists and correspondence with a composer and poet in the preparation for two recitals in Sydney in 2008 and 2009 (Phase two), and a questionnaire in response to performer's analyses of AAS from 19 singing teachers in Phase three (2009-2010). Each Phase of the study informed the Phase which followed and in doing so built up a Bank of pedagogical learning and teaching strategies for singers and singing teachers to draw on. In responding to the research questions, six new contributions to knowledge emerged: (1) The development and application of the Bank of pedagogical learning teaching strategies for singers and singing teachers, which were contributed, trialled and suggested by singers and singing teachers in the practice-based, practice-led phases of the research; (2) the application of Rink's (2002) performer's analysis - analysis by performers for performers - to the learning and teaching of AASs, is a way of perpetuating knowledge about the repertoire that is passed on to others through building and sharing a pedagogical resource so that the repertoire is learned, taught and ultimately, performed more; (3) defining the literature reviewed relevant to the learning and teaching of contemporary (Australian) art song through categorisation into contextual, musical and performative criteria offered a way of using and reflecting on strategies when approaching new AAS; (4) the development of Aggett's cyclical reflexive journaling process can assist in the preparation of a musical performance. This extension of the reflexive journal process included Mezirow's (1991) levels of reflection (adapted Kember et al., 1999) applied to each of the steps as a means of identifying different levels of reflection. These levels may further assist singers in the practice preparation for any singing task; (5) recordings were found to be a valuable tool used to assist in performance preparation in all phases of the research, including self-recording, MIDI and where available, commercial recordings; and finally, (6) developing a reliable way/tool for grading repertoire, by adapting and developing the Ralston Repertoire Difficulty Index (RRDI), with the assistance of three 'critical friends', to research and validate the grades. Following the singing teacher's study (Phase three), an eighth criteria, dynamics and expressive techniques, was added to the index. The diverse contemporary Australian art song repertoire of composers discussed in the thesis, which includes the works of 24 Australian composers, demonstrates the breadth of styles, genres, levels of abilities, beauty and variety in the repertoire. The thesis, therefore, aimed at introducing singers and singing teachers to this rich and rewarding body of works, discussing what it has to offer.
Date of Award | 2014 |
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Original language | English |
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- songs
- art songs
- music
- singing
- instruction and study
- performance
- singers
- Australia
Australian art song : pedagogical learning and teaching strategies framed for singers and singing teachers
Aggett, C. (Author). 2014
Western Sydney University thesis: Doctoral thesis