Date of Award

Fall 12-2018

Degree Type

Dissertation

Degree Name

Doctor of Musical Arts (DMA)

School

Music

Committee Chair

Maryann Kyle

Committee Chair School

Music

Committee Member 2

Susan Ruggiero-Mezzadri

Committee Member 2 School

Music

Committee Member 3

Jonathan Yarrington

Committee Member 3 School

Music

Committee Member 4

Edward Hafer

Committee Member 4 School

Music

Committee Member 5

Douglas Rust

Committee Member 5 School

Music

Abstract

This dissertation was inspired by a Facebook post by David L. Jones regarding common pedagogical problems in the dramatic soprano Fach. I am a dramatic soprano, who has dealt with many of the technical problems listed in his post. David L. Jones is an internationally recognized teacher and coach and has worked with some of the most well-known professional dramatic sopranos. After considering these pedagogical challenges, it was decided the best course of action was to interview professional singers, teachers, and coaches in the dramatic soprano Fach. After conducting a state of research, it was found that there was not an overwhelming amount of research specifically related to the training of dramatic sopranos. The following document is meant to be a guide for voice professionals in navigating the pedagogical problems often found in the dramatic soprano Fach, as well as offering solutions to these technical problems.

Section I contains the introduction and topics include the method of research, credentials of each interviewee, types of dramatic sopranos, information related to the European Fach system, challenges in teaching dramatic sopranos, and specialized training considerations. Section II encompasses the main body of the paper specifically addressing pedagogical problems and solutions. Information concerning breathing, registration, and interpretation tools are addressed. Section III offers a brief conclusion with advice from professional singers from the past and present. The document contains three appendices, which include full transcriptions of the interviews, a performer’s guide to music specifically aimed towards dramatic sopranos, and the IRB approval letter.

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