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The Crossover Opera Singer: Bridging...

Willis-Lynam, Keyona.

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The Crossover Opera Singer: Bridging the Gap Between Opera and Musical Theatre.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The Crossover Opera Singer: Bridging the Gap Between Opera and Musical Theatre./
作者:	Willis-Lynam, Keyona.
面頁冊數:	110 p.
附註:	Source: Dissertation Abstracts International, Volume: 77-08(E), Section: A.
Contained By:	Dissertation Abstracts International77-08A(E).
標題:	Performing arts. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10085455
ISBN:	9781339589619

The Crossover Opera Singer: Bridging the Gap Between Opera and Musical Theatre.
Willis-Lynam, Keyona.

The Crossover Opera Singer: Bridging the Gap Between Opera and Musical Theatre. - 110 p.

Source: Dissertation Abstracts International, Volume: 77-08(E), Section: A.

Thesis (D.M.A.)--The Ohio State University, 2015.

For decades, a divide has existed between opera and musical theatre, with the lesser value being placed upon the latter. Singers, from the start of their training, are told to choose a genre if one wants to achieve any type of singing success. This type of division creates a chasm of isolation and misunderstanding between the musical styles. From academia, to the stage, to the concert goer, one's allegiance to opera versus musical theatre has been built upon a firm foundation of contrast, without acknowledging that both genres have ties to one another. As a result, most teaching of singing is done from the perspective of the classical singing style, with little to no mention of how to efficiently and healthily sing in a musical theatre style.

ISBN: 9781339589619Subjects--Topical Terms:

523119
Performing arts.

The Crossover Opera Singer: Bridging the Gap Between Opera and Musical Theatre.
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245 1 4 $a The Crossover Opera Singer: Bridging the Gap Between Opera and Musical Theatre.
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500 $a Source: Dissertation Abstracts International, Volume: 77-08(E), Section: A.
500 $a Adviser: J. Robin Rice.
502 $a Thesis (D.M.A.)--The Ohio State University, 2015.
520 $a For decades, a divide has existed between opera and musical theatre, with the lesser value being placed upon the latter. Singers, from the start of their training, are told to choose a genre if one wants to achieve any type of singing success. This type of division creates a chasm of isolation and misunderstanding between the musical styles. From academia, to the stage, to the concert goer, one's allegiance to opera versus musical theatre has been built upon a firm foundation of contrast, without acknowledging that both genres have ties to one another. As a result, most teaching of singing is done from the perspective of the classical singing style, with little to no mention of how to efficiently and healthily sing in a musical theatre style.
520 $a In today's social and economic climate, opera houses across the United States and abroad are seeing a decline in ticket sales; some have been able to restructure to survive, while others are shutting down. Companies are seeking a variety of ways to stay connected to the community; one avenue that has produced an area of contention is the addition of musical theatre productions to the season's billing. Opera purists see this as a disintegration of a centuries-old tradition, while others see this not as a destruction, but a continuation, an expansion of the genre. In opera's quest to stay relevant, it is becoming more difficult to ignore the benefits musical theatre can have for opera, and as a result, there needs to be a means of educating singers how to healthily sing in a musical theatre style.
520 $a This document is intended for the opera singer who wants to integrate musical theatre literature into his or her repertoire and for the opera community hesitant to embrace the genre. Chapter one will explore the evolution of American opera into musical theatre and how the genres function today. Chapter two discusses a means to look beyond genres and ways to reinvigorate opera as an art form. Chapter three addresses the tools and pedagogical needs for the opera singer to cross over into musical theatre. Chapter four fuses the concepts of opera and musical theatre to gain a better understanding of how the two can influence one another.
520 $a The intent of this paper is not to lessen opera but to enhance and build upon it with the addition of musical theatre concepts. From the stage to the classroom, a movement needs to take place to seek out the benefits of each style. In today's society, singers need to know how to navigate different styles, within reason, and know how to do so healthily. Not educating singers on how to sing functionally in alternate styles, in addition to their predominant classical style, is a detriment to one's career. In starting a dialogue to bridge the gap between opera and musical theatre, it is hoped this document can help strip away the divide and instead, bring them together.
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