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Voicing the Possible: Technique, Voc...

Osseo-Asare, Afua.

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Voicing the Possible: Technique, Vocal Sound, and Black Women on the Musical Stage.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Voicing the Possible: Technique, Vocal Sound, and Black Women on the Musical Stage./
Author:	Osseo-Asare, Afua.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	221 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-02, Section: A.
Contained By:	Dissertations Abstracts International80-02A.
Subject:	Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10750344
ISBN:	9780438171015

Voicing the Possible: Technique, Vocal Sound, and Black Women on the Musical Stage.
Osseo-Asare, Afua.

Voicing the Possible: Technique, Vocal Sound, and Black Women on the Musical Stage. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 221 p.

Source: Dissertations Abstracts International, Volume: 80-02, Section: A.

Thesis (Ph.D.)--New York University, 2018.

This item must not be added to any third party search indexes.

This dissertation examines embodied, racialized pedagogies of singing technique in order to excavate the ways that black women singers theorized the voice in US musical theatre performances from 1900 to 1970. For a black woman on the musical stage, what kinds of voices seem possible? Any teaching on how to do, I suggest, proposes a theory not only about the proper way of doing, but about what can be done at all, and by whom. I open the project with an analysis of the way that US vocal pedagogy has constructed singing technique as bodily healthfulness, such that popular singing voices employed in blues shouting and Broadway belting are deemed unhealthy, even abusive. Here, I engage the recent popular singing pedagogies of Jeannette LoVetri and Jo Estill, and implicit theories about race and voice posited by their teachings. The following chapter traces a line of historical singing lessons that locate Ma Rainey, Bessie Smith, and Ethel Waters in the lineage of Broadway belters. I contest the idea that black women who sang the blues and performed on the musical stage in the early 20th century possessed "untrained" voices, and foreground the extent to which singing is a citational practice. I close with a chapter examining the ways that black women were themselves belting on Broadway at midcentury. I listen for details in the voices of Pearl Bailey, Juanita Hall, Diahann Carroll, and Leslie Uggams, reinterpreting their patterns as vocal exercises for the aspiring singer-scholar in search of multiple possibilities for performing race via the voice. Through close readings of recorded and live performances, archival research, and practice-based research methods, I make the case for the need to feel the racial history in contemporary practices of vocal performance on the musical stage.

ISBN: 9780438171015Subjects--Topical Terms:

516178
Music.
Subjects--Index Terms:

African American

Voicing the Possible: Technique, Vocal Sound, and Black Women on the Musical Stage.
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520 $a This dissertation examines embodied, racialized pedagogies of singing technique in order to excavate the ways that black women singers theorized the voice in US musical theatre performances from 1900 to 1970. For a black woman on the musical stage, what kinds of voices seem possible? Any teaching on how to do, I suggest, proposes a theory not only about the proper way of doing, but about what can be done at all, and by whom. I open the project with an analysis of the way that US vocal pedagogy has constructed singing technique as bodily healthfulness, such that popular singing voices employed in blues shouting and Broadway belting are deemed unhealthy, even abusive. Here, I engage the recent popular singing pedagogies of Jeannette LoVetri and Jo Estill, and implicit theories about race and voice posited by their teachings. The following chapter traces a line of historical singing lessons that locate Ma Rainey, Bessie Smith, and Ethel Waters in the lineage of Broadway belters. I contest the idea that black women who sang the blues and performed on the musical stage in the early 20th century possessed "untrained" voices, and foreground the extent to which singing is a citational practice. I close with a chapter examining the ways that black women were themselves belting on Broadway at midcentury. I listen for details in the voices of Pearl Bailey, Juanita Hall, Diahann Carroll, and Leslie Uggams, reinterpreting their patterns as vocal exercises for the aspiring singer-scholar in search of multiple possibilities for performing race via the voice. Through close readings of recorded and live performances, archival research, and practice-based research methods, I make the case for the need to feel the racial history in contemporary practices of vocal performance on the musical stage.
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