Cathy Aggett - Academia.edu (original) (raw)
Papers by Cathy Aggett
Journaling is used by many professions as an educational tool to assist practitioners gain a grea... more Journaling is used by many professions as an educational tool to assist practitioners gain a greater understanding of their craft. This paper will investigate the process of reflective journaling through the performance preparation of the author"s (a soprano) reflective journal writing for the preparation of Gordon Kerry"s "Moonrise", an Australian contemporary art song with challenging notational, pitch and conceptual aspects. It will describe the process of journaling adopted and discuss how such an approach can assist performers during the learning and performance stages of a conceptually challenging contemporary art song. Reflective use of recordings of rehearsals and performances are also included in this frame, with the process leading to a more successful, informed performance, with much of the writing having a reflexive focus. In so doing, the paper will suggest how journaling can help in the preparation of songs for performance, in particular those which...
search.informit.com.au
To cite this article: Section C: Abstracts of Workshops [online]. In: Stanberg, Andrea (Editor); ... more To cite this article: Section C: Abstracts of Workshops [online]. In: Stanberg, Andrea (Editor); McIntosh, Jonathon (Editor); Faulkner, Robert (Editor). Celebrating Musical Communities: Proceedings of the 40th Anniversary National Conference, Perth 6th-8th July 2007. Nedlands, WA: Australian Society for Music Education, 2007: 232-244. Availability: <http://search.informit.com.au/documentSummary ;dn=097555958530966;res=IELHSS> ISBN: 9780980379204. [cited 23 Sep 12]. ... Source: In: Stanberg, Andrea (Editor); McIntosh, Jonathon (Editor); Faulkner, Robert (Editor). ...
ABSTRACT Professional singers and studio vocal teachers can be assisted to perform and learn mode... more ABSTRACT Professional singers and studio vocal teachers can be assisted to perform and learn modern art by applying performance strategies to help resolve challenges encountered in the learning process. In this paper, these strategies will be described using the Australian art song, "I'm Nobody" from Nigel Butterley's cycle, "Frogs." The paper aims to give professional singers and studio vocal teachers assistance in learning and performing the work through a performance analysis, a recent approach to writing about vocal performance. The performance analysis draws on some of the strategies submitted from professional singers in a larger study and uses a theoretical framework based on John Rink's (2002) principles of performance analysis and Sharon Mabry's (2002) ideas for developing confidence in securing pitch in twentieth century music to discuss my preparation of the song. The main performance challenges encountered in Butterley's song were, for me as a singer, singing the correct pitches, being accurate with the rhythm and giving a convincing performance of the text. "The music" was explored by reviewing recordings of rehearsals and keeping a practice diary, allowing me to pinpoint what I needed to work on next. Shaping the music involved working on textual strategies including reading the text slowly as a poem, going over unfamiliar words, and saying the text in musical rhythm, which was also done with the pianist to help familiarise both performers with a variety of performative and musical aspects of the song. Performative strategies employed to work with temporal issues included patsching the beat, conducting while singing and placing marks above the score. The atonality in "I'm Nobody" meant a discovery process between singer and accompanist occurred while learning the song where the score is not "the music" and "the music" was not confined to the score. By not systematically prioritising analytically determined decisions, the accompanist and I were able to try several strategies, some suggested by Mabry, including enhancing a vocal kinesthetic feeling for pitch by learning exact pitches and singing the vocal line slowly while playing all chords with the pedal down. Finally, from many years of experience, informed intuition guides both singer and accompanist; but when new strategies were trialled and evaluated during the learning of the song, the depth of one's intuition was further developed. The singer, with and without the accompanist, can enter into a performance analysis of the work that will shape it so that audiences listening will ultimately benefit from the strategies and thinking behind the preparation.
Skip to main content Research Online. My Account; FAQ; About; Home. Research Online. < Previou... more Skip to main content Research Online. My Account; FAQ; About; Home. Research Online. < Previous Creative Work; Next Journal Article >; Home > Creative Arts > Papers > 141. Faculty of Creative Arts - Papers. Title. The Dark, the Light: Contemporary Australian and American art songs. Authors. Cathy Aggett, University of Western Sydney Lotte Latukefu, University of Wollongong Diana Blom, University of Western Sydney Kevin Hanrahan. Document Type. Creative Work. Publication Details. ...
This paper is a report of the third phase of research in a larger study designed to ascertain the... more This paper is a report of the third phase of research in a larger study designed to ascertain the most suitable pedagogical issues and frames by which both singers and singing teachers could more easily approach the learning, teaching, and performance of Australian art song. Ten pedagogical analyses of Australian art songs of varying voice types, ability, and styles were written and co-graded by the researcher and a “critical friend” (i.e. another professional singer and singing teacher). Nineteen of 28 professional international singing teachers responded to a “song package” sent to them including a questionnaire, information about the included song with suggested performance strategies, a suggested grading based on the (adapted) Ralston Repertoire Difficulty Index (RRDI), a copy of the score of the song, and a representative recording of it. The questionnaire asked teachers to evaluate the presentation of the analysis, the grading of the song using the information grading sheet, m...
Music can be analysed from at least two perspectives – one which examines structural issues and h... more Music can be analysed from at least two perspectives – one which examines structural issues and how a composer has used musical elements, undertaken by the musicologist and theorist; and performance analysis written by performers for performers. By engaging with both types of analysis, the extent to which a performer understands a piece of music and then ultimately performs it, will always enhance the final artistic outcome. In this paper, an analysis of Gordon Kerry and Carolyn Masel’s Moonrise (1983), informed by results from a pilot study of professional singers and a review of current literature will be presented from the performer’s perspective. The singing community is the direct target audience, however, it is hoped that the principles suggested will have relevance for other performers and educators. Music can be analysed from at least two perspectives – one which examines structural issues and how a composer has used musical elements, undertaken by
Music can be analysed from several perspectives. Two relevant to this discussion are of structura... more Music can be analysed from several perspectives. Two relevant to this discussion are of structural issues and how composers have used musical elements, often undertaken by the musicologist and theorist; and performance analysis written by performers for performers. By engaging with both types of analysis, the extent to which a performer understands a piece of music and then ultimately performs it will always enhance the final artistic outcome. In this paper, a different approach to the analysis of a song will be presented and discussed from the performer's perspective, informed by the results from a study of professional singers and a review of current literature drawn on writing about Australian solo vocal repertoire. Moonrise (1983), by Australian composer Gordon Kerry and text by Carolyn Masel, will be the song analysed. The singing community is the direct target audience, however, it is hoped that the principles suggested will have relevance for other performers and educators.
This chapter draws on an interview with mezzo-soprano Lotte Latukefu, an Australian of Tongan her... more This chapter draws on an interview with mezzo-soprano Lotte Latukefu, an Australian of Tongan heritage, to discuss the preparation and performances of Daragang Magayon Cantata by Bruce Crossman. The interview revealed cultural, interpretative and pedagogical issues which form the focus of the paper. The singer’s views are presented within the frame of a performance analysis on vocal stamina, rhythm, emotion and vocal coloration; gender issues; relationships with the other performers and the composer; and the singer’s interpretation and understanding of the work. Performance analysis is analysis by the performer for the performer, whereby ‘informed intuition’ guides the process of ‘performance analysis' and the performer draws on deep knowledge from past experience (Rink, 2002). The relevance of vocalist, Sharon Mabry’s (2002) writings on vocal requirements of 20th century music provides a platform for a discussion of strategies to overcome difficulties encountered by the singer ...
This paper is a report of the third phase of research in a larger study de-signed to ascertain th... more This paper is a report of the third phase of research in a larger study de-signed to ascertain the most suitable pedagogical issues and frames by which both singers and singing teachers could more easily approach the learning, teaching, and performance of Australian art song. Ten peda-gogical analyses of Australian art songs of varying voice types, ability, and styles were written and co-graded by the researcher and a "critical friend" (i.e. another professional singer and singing teacher). Nineteen of 28 professional international singing teachers responded to a "song package" sent to them including a questionnaire, information about the included song with suggested performance strategies, a suggested grad-ing based on the (adapted) Ralston Repertoire Difficulty Index (RRDI), a copy of the score of the song, and a representative recording of it. The questionnaire asked teachers to evaluate the presentation of the analysis, the grading of the song using the infor...
This chapter investigates the effectiveness of reflective journaling as a pedagogical learning an... more This chapter investigates the effectiveness of reflective journaling as a pedagogical learning and teaching tool for use in the singing studio. The chapter has three parts. It begins by discussing reflective practice, reflective and reflexive journaling, and describes the author’s reflective journaling process for a musical performance. The second section presents writing froma mezzo-soprano and a soprano’s (the author) viewpoints when engaged in short and long-term reflective journal writing during the preparation of Australian art songs for public performance. Entries from the journals are given to show aspects of different levels of critical thinking present, and related to musical examples from the repertoire. The entries are analysed using categories of reflective thinking based on Mezirow’s (1991) levels of reflection (adapted by Kember et al., 2000). The third and final section focuses on aspects of reflective journaling relevant to the singing studio and a pedagogical approa...
Celebrating Musical Communities: Proceedings of the 40th Anniversary National Conference, Perth 6th-8th July 2007, 2007
Music can be analysed from at least two perspectives – one which examines structural issues and h... more Music can be analysed from at least two perspectives – one which examines structural issues and how a composer has used musical elements, undertaken by the musicologist and theorist; and performance analysis written by performers for performers. By engaging with both types of analysis, the extent to which a performer understands a piece of music and then ultimately performs it, will always enhance the final artistic outcome. In this paper, an analysis of Gordon Kerry and Carolyn Masel‟s Moonrise (1983), informed by results from a pilot study of professional singers and a review of current literature, will be presented from the performer‟s perspective. The singing community is the direct target audience, however, it is hoped that the principles suggested will have relevance for other performers and educators.
Professional singers and studio vocal teachers can be assisted to perform and learn modern art so... more Professional singers and studio vocal teachers can be assisted to perform and learn modern art songs – in this paper, an Australian art song, „I‟m Nobody‟ from Nigel Butterley‟s cycle, “Frogs”, by applying performance strategies to help resolve challenges encountered in the learning process. The paper aims to give professional singers and studio vocal teachers assistance in learning and performing the work through a performance analysis, a recent approach to writing about vocal performance. The performance analysis draws on some of the strategies submitted from professional singers in a larger study and uses a theoretical framework based on John Rink‟s (2002) principles of performance analysis and Sharon Mabry‟s (2002) ideas for developing confidence in securing pitch in twentieth century music, to discuss my preparation of the song. The main performance challenges performing Butterley‟s song were, for me as a singer, singing the correct pitches, being accurate with the rhythm and g...
Journaling is used by many professions as an educational tool to assist practitioners gain a grea... more Journaling is used by many professions as an educational tool to assist practitioners gain a greater understanding of their craft. This paper will investigate the process of reflective journaling through the performance preparation of the author‟s (a soprano) reflective journal writing for the preparation of Gordon Kerry‟s “Moonrise”, an Australian contemporary art song with challenging notational, pitch and conceptual aspects. It will describe the process of journaling adopted and discuss how such an approach can assist performers during the learning and performance stages of a conceptually challenging contemporary art song. Reflective use of recordings of rehearsals and performances are also included in this frame, with the process leading to a more successful, informed performance, with much of the writing having a reflexive focus. In so doing, the paper will suggest how journaling can help in the preparation of songs for performance, in particular those which challenge a singer‟...
An anthology of 20 newly commissioned Australian art songs for low voices, composed to address th... more An anthology of 20 newly commissioned Australian art songs for low voices, composed to address the paucity of repertoire especially for alto, contralto and bass. Vol. Two comprises 10 songs - 4 songs and two song cycles - for contralto and bass by composers John Wayne Dixon, Paul Paviour, Diana Blom and Gordon Kerry, with works edited and with pedagogical material for the singer and singing teacher by Cathy Aggett. The strategies of the highlighted aspects of each of the songs are one performer's - the author's - suggestions on how a singer or singing teacher might learn or teach the presented songs. As with all learning, learning styles and performers, there will be many ways to approach these aspects. The presented strategies are just some of the ways one might begin that journey. Many of the strategies have been adapted from those suggested by singers, singing teachers, accompanists, composers and poets involved in the practice-led/practice-based research of the author in...
ABSTRACT Songs from Australia has been written as a resource for performers, teachers and student... more ABSTRACT Songs from Australia has been written as a resource for performers, teachers and students to assist in the development of individual interpretation and performance skills. Pedagogical, musical and performance ideas are discussed for 27 Australian songs. Each entry includes information on the following: textual analysis, performance and vocal techniques, musical concepts, piano accompaniment, phonetics, range and tessitura, pronunciation guide for diction, composition details, composer biography and available recordings and details teaching outcomes. A CD of MIDI accompaniment for each song is included. A glossary provides musical definitions and general explanations. Songs from Australia approaches each song as an entity. The interpretative and technical information provided for each song is offered to assist the teacher and student to build a successful performance. The Songs from Australia authors believe that a singer cannot perform a song without a thorough understanding of the original poem; this philosophy has been their impetus. For this reason, the book provides the Textual Analysis before exploring how the composer has set the text. (The poems have been presented and vocabulary assistance has been included where deemed necessary). Performance Techniques have been included to encourage individual interpretation. They consider vocal technique, diction, phonetics, style, textual and musical information, pedagogy and exercises. The exercises provided are specific to the song; however, most have a wider application and will be of assistance in different song settings. (The Appendix lists such alternative uses.) The section, Musical Concepts, discusses melody, harmony, tonality, duration and form, (tempo has been considered in the body of the text when it has a direct impact on interpretation). Songs from Australia is in no way the definitive text; it is anticipated that it will be used as a spring-board for further interpretation and analysis. In their own way, each of the four co-authors have been researching Australian songs; the Trinity College London Singing Syllabus for 2005 was the catalyst for this collaboration. The selection and grading of songs follows the new Australian component of the 2005 and 2009 Trinity Syllabus. AMEB grading is indicated where appropriate. The Trinity Syllabus Australian selection is comprised mainly of art songs. The art song is characterized by the close relationship of text and music; a song exists because the composer has an emotional reaction to a text. In Songs from Australia, Horace Keats chose the exquisite words of the poet Blake; Carl Vine was inspired by Elizabeth Barrett Browning; Ester Rofe could not disregard the tragic plea of the contemporary Australian poet, Tom Rothfield, and in stark contrast, Mervyn Peake’s witty observations of humanity captivated Stephen Yates. The folk songs, such as Moreton Bay and Waltzing Matilda, evolved from the story-telling tradition and are in a genre of their own. This is the first time that a book and accompanying MIDI file of this nature has been published on Australian songs. Studio singing teachers, school music teachers, performers and anyone interested in Australian song will appreciate this new concept. Each of the 27 songs has been recorded on CD by soprano Wendy Dixon and pianist David Miller and is also titled Songs from Australia and is availble online.
performancescience.org, 2009
Strategies professional singers use in the selection and preparation of twentieth and twenty-firs... more Strategies professional singers use in the selection and preparation of twentieth and twenty-first century art song were gathered from an inter-national study carried out by email during 2006-07. These strategies were applied in the preparation of 34 Australian art songs for a ...
Journaling is used by many professions as an educational tool to assist practitioners gain a grea... more Journaling is used by many professions as an educational tool to assist practitioners gain a greater understanding of their craft. This paper will investigate the process of reflective journaling through the performance preparation of the author"s (a soprano) reflective journal writing for the preparation of Gordon Kerry"s "Moonrise", an Australian contemporary art song with challenging notational, pitch and conceptual aspects. It will describe the process of journaling adopted and discuss how such an approach can assist performers during the learning and performance stages of a conceptually challenging contemporary art song. Reflective use of recordings of rehearsals and performances are also included in this frame, with the process leading to a more successful, informed performance, with much of the writing having a reflexive focus. In so doing, the paper will suggest how journaling can help in the preparation of songs for performance, in particular those which...
search.informit.com.au
To cite this article: Section C: Abstracts of Workshops [online]. In: Stanberg, Andrea (Editor); ... more To cite this article: Section C: Abstracts of Workshops [online]. In: Stanberg, Andrea (Editor); McIntosh, Jonathon (Editor); Faulkner, Robert (Editor). Celebrating Musical Communities: Proceedings of the 40th Anniversary National Conference, Perth 6th-8th July 2007. Nedlands, WA: Australian Society for Music Education, 2007: 232-244. Availability: <http://search.informit.com.au/documentSummary ;dn=097555958530966;res=IELHSS> ISBN: 9780980379204. [cited 23 Sep 12]. ... Source: In: Stanberg, Andrea (Editor); McIntosh, Jonathon (Editor); Faulkner, Robert (Editor). ...
ABSTRACT Professional singers and studio vocal teachers can be assisted to perform and learn mode... more ABSTRACT Professional singers and studio vocal teachers can be assisted to perform and learn modern art by applying performance strategies to help resolve challenges encountered in the learning process. In this paper, these strategies will be described using the Australian art song, "I'm Nobody" from Nigel Butterley's cycle, "Frogs." The paper aims to give professional singers and studio vocal teachers assistance in learning and performing the work through a performance analysis, a recent approach to writing about vocal performance. The performance analysis draws on some of the strategies submitted from professional singers in a larger study and uses a theoretical framework based on John Rink's (2002) principles of performance analysis and Sharon Mabry's (2002) ideas for developing confidence in securing pitch in twentieth century music to discuss my preparation of the song. The main performance challenges encountered in Butterley's song were, for me as a singer, singing the correct pitches, being accurate with the rhythm and giving a convincing performance of the text. "The music" was explored by reviewing recordings of rehearsals and keeping a practice diary, allowing me to pinpoint what I needed to work on next. Shaping the music involved working on textual strategies including reading the text slowly as a poem, going over unfamiliar words, and saying the text in musical rhythm, which was also done with the pianist to help familiarise both performers with a variety of performative and musical aspects of the song. Performative strategies employed to work with temporal issues included patsching the beat, conducting while singing and placing marks above the score. The atonality in "I'm Nobody" meant a discovery process between singer and accompanist occurred while learning the song where the score is not "the music" and "the music" was not confined to the score. By not systematically prioritising analytically determined decisions, the accompanist and I were able to try several strategies, some suggested by Mabry, including enhancing a vocal kinesthetic feeling for pitch by learning exact pitches and singing the vocal line slowly while playing all chords with the pedal down. Finally, from many years of experience, informed intuition guides both singer and accompanist; but when new strategies were trialled and evaluated during the learning of the song, the depth of one's intuition was further developed. The singer, with and without the accompanist, can enter into a performance analysis of the work that will shape it so that audiences listening will ultimately benefit from the strategies and thinking behind the preparation.
Skip to main content Research Online. My Account; FAQ; About; Home. Research Online. < Previou... more Skip to main content Research Online. My Account; FAQ; About; Home. Research Online. < Previous Creative Work; Next Journal Article >; Home > Creative Arts > Papers > 141. Faculty of Creative Arts - Papers. Title. The Dark, the Light: Contemporary Australian and American art songs. Authors. Cathy Aggett, University of Western Sydney Lotte Latukefu, University of Wollongong Diana Blom, University of Western Sydney Kevin Hanrahan. Document Type. Creative Work. Publication Details. ...
This paper is a report of the third phase of research in a larger study designed to ascertain the... more This paper is a report of the third phase of research in a larger study designed to ascertain the most suitable pedagogical issues and frames by which both singers and singing teachers could more easily approach the learning, teaching, and performance of Australian art song. Ten pedagogical analyses of Australian art songs of varying voice types, ability, and styles were written and co-graded by the researcher and a “critical friend” (i.e. another professional singer and singing teacher). Nineteen of 28 professional international singing teachers responded to a “song package” sent to them including a questionnaire, information about the included song with suggested performance strategies, a suggested grading based on the (adapted) Ralston Repertoire Difficulty Index (RRDI), a copy of the score of the song, and a representative recording of it. The questionnaire asked teachers to evaluate the presentation of the analysis, the grading of the song using the information grading sheet, m...
Music can be analysed from at least two perspectives – one which examines structural issues and h... more Music can be analysed from at least two perspectives – one which examines structural issues and how a composer has used musical elements, undertaken by the musicologist and theorist; and performance analysis written by performers for performers. By engaging with both types of analysis, the extent to which a performer understands a piece of music and then ultimately performs it, will always enhance the final artistic outcome. In this paper, an analysis of Gordon Kerry and Carolyn Masel’s Moonrise (1983), informed by results from a pilot study of professional singers and a review of current literature will be presented from the performer’s perspective. The singing community is the direct target audience, however, it is hoped that the principles suggested will have relevance for other performers and educators. Music can be analysed from at least two perspectives – one which examines structural issues and how a composer has used musical elements, undertaken by
Music can be analysed from several perspectives. Two relevant to this discussion are of structura... more Music can be analysed from several perspectives. Two relevant to this discussion are of structural issues and how composers have used musical elements, often undertaken by the musicologist and theorist; and performance analysis written by performers for performers. By engaging with both types of analysis, the extent to which a performer understands a piece of music and then ultimately performs it will always enhance the final artistic outcome. In this paper, a different approach to the analysis of a song will be presented and discussed from the performer's perspective, informed by the results from a study of professional singers and a review of current literature drawn on writing about Australian solo vocal repertoire. Moonrise (1983), by Australian composer Gordon Kerry and text by Carolyn Masel, will be the song analysed. The singing community is the direct target audience, however, it is hoped that the principles suggested will have relevance for other performers and educators.
This chapter draws on an interview with mezzo-soprano Lotte Latukefu, an Australian of Tongan her... more This chapter draws on an interview with mezzo-soprano Lotte Latukefu, an Australian of Tongan heritage, to discuss the preparation and performances of Daragang Magayon Cantata by Bruce Crossman. The interview revealed cultural, interpretative and pedagogical issues which form the focus of the paper. The singer’s views are presented within the frame of a performance analysis on vocal stamina, rhythm, emotion and vocal coloration; gender issues; relationships with the other performers and the composer; and the singer’s interpretation and understanding of the work. Performance analysis is analysis by the performer for the performer, whereby ‘informed intuition’ guides the process of ‘performance analysis' and the performer draws on deep knowledge from past experience (Rink, 2002). The relevance of vocalist, Sharon Mabry’s (2002) writings on vocal requirements of 20th century music provides a platform for a discussion of strategies to overcome difficulties encountered by the singer ...
This paper is a report of the third phase of research in a larger study de-signed to ascertain th... more This paper is a report of the third phase of research in a larger study de-signed to ascertain the most suitable pedagogical issues and frames by which both singers and singing teachers could more easily approach the learning, teaching, and performance of Australian art song. Ten peda-gogical analyses of Australian art songs of varying voice types, ability, and styles were written and co-graded by the researcher and a "critical friend" (i.e. another professional singer and singing teacher). Nineteen of 28 professional international singing teachers responded to a "song package" sent to them including a questionnaire, information about the included song with suggested performance strategies, a suggested grad-ing based on the (adapted) Ralston Repertoire Difficulty Index (RRDI), a copy of the score of the song, and a representative recording of it. The questionnaire asked teachers to evaluate the presentation of the analysis, the grading of the song using the infor...
This chapter investigates the effectiveness of reflective journaling as a pedagogical learning an... more This chapter investigates the effectiveness of reflective journaling as a pedagogical learning and teaching tool for use in the singing studio. The chapter has three parts. It begins by discussing reflective practice, reflective and reflexive journaling, and describes the author’s reflective journaling process for a musical performance. The second section presents writing froma mezzo-soprano and a soprano’s (the author) viewpoints when engaged in short and long-term reflective journal writing during the preparation of Australian art songs for public performance. Entries from the journals are given to show aspects of different levels of critical thinking present, and related to musical examples from the repertoire. The entries are analysed using categories of reflective thinking based on Mezirow’s (1991) levels of reflection (adapted by Kember et al., 2000). The third and final section focuses on aspects of reflective journaling relevant to the singing studio and a pedagogical approa...
Celebrating Musical Communities: Proceedings of the 40th Anniversary National Conference, Perth 6th-8th July 2007, 2007
Music can be analysed from at least two perspectives – one which examines structural issues and h... more Music can be analysed from at least two perspectives – one which examines structural issues and how a composer has used musical elements, undertaken by the musicologist and theorist; and performance analysis written by performers for performers. By engaging with both types of analysis, the extent to which a performer understands a piece of music and then ultimately performs it, will always enhance the final artistic outcome. In this paper, an analysis of Gordon Kerry and Carolyn Masel‟s Moonrise (1983), informed by results from a pilot study of professional singers and a review of current literature, will be presented from the performer‟s perspective. The singing community is the direct target audience, however, it is hoped that the principles suggested will have relevance for other performers and educators.
Professional singers and studio vocal teachers can be assisted to perform and learn modern art so... more Professional singers and studio vocal teachers can be assisted to perform and learn modern art songs – in this paper, an Australian art song, „I‟m Nobody‟ from Nigel Butterley‟s cycle, “Frogs”, by applying performance strategies to help resolve challenges encountered in the learning process. The paper aims to give professional singers and studio vocal teachers assistance in learning and performing the work through a performance analysis, a recent approach to writing about vocal performance. The performance analysis draws on some of the strategies submitted from professional singers in a larger study and uses a theoretical framework based on John Rink‟s (2002) principles of performance analysis and Sharon Mabry‟s (2002) ideas for developing confidence in securing pitch in twentieth century music, to discuss my preparation of the song. The main performance challenges performing Butterley‟s song were, for me as a singer, singing the correct pitches, being accurate with the rhythm and g...
Journaling is used by many professions as an educational tool to assist practitioners gain a grea... more Journaling is used by many professions as an educational tool to assist practitioners gain a greater understanding of their craft. This paper will investigate the process of reflective journaling through the performance preparation of the author‟s (a soprano) reflective journal writing for the preparation of Gordon Kerry‟s “Moonrise”, an Australian contemporary art song with challenging notational, pitch and conceptual aspects. It will describe the process of journaling adopted and discuss how such an approach can assist performers during the learning and performance stages of a conceptually challenging contemporary art song. Reflective use of recordings of rehearsals and performances are also included in this frame, with the process leading to a more successful, informed performance, with much of the writing having a reflexive focus. In so doing, the paper will suggest how journaling can help in the preparation of songs for performance, in particular those which challenge a singer‟...
An anthology of 20 newly commissioned Australian art songs for low voices, composed to address th... more An anthology of 20 newly commissioned Australian art songs for low voices, composed to address the paucity of repertoire especially for alto, contralto and bass. Vol. Two comprises 10 songs - 4 songs and two song cycles - for contralto and bass by composers John Wayne Dixon, Paul Paviour, Diana Blom and Gordon Kerry, with works edited and with pedagogical material for the singer and singing teacher by Cathy Aggett. The strategies of the highlighted aspects of each of the songs are one performer's - the author's - suggestions on how a singer or singing teacher might learn or teach the presented songs. As with all learning, learning styles and performers, there will be many ways to approach these aspects. The presented strategies are just some of the ways one might begin that journey. Many of the strategies have been adapted from those suggested by singers, singing teachers, accompanists, composers and poets involved in the practice-led/practice-based research of the author in...
ABSTRACT Songs from Australia has been written as a resource for performers, teachers and student... more ABSTRACT Songs from Australia has been written as a resource for performers, teachers and students to assist in the development of individual interpretation and performance skills. Pedagogical, musical and performance ideas are discussed for 27 Australian songs. Each entry includes information on the following: textual analysis, performance and vocal techniques, musical concepts, piano accompaniment, phonetics, range and tessitura, pronunciation guide for diction, composition details, composer biography and available recordings and details teaching outcomes. A CD of MIDI accompaniment for each song is included. A glossary provides musical definitions and general explanations. Songs from Australia approaches each song as an entity. The interpretative and technical information provided for each song is offered to assist the teacher and student to build a successful performance. The Songs from Australia authors believe that a singer cannot perform a song without a thorough understanding of the original poem; this philosophy has been their impetus. For this reason, the book provides the Textual Analysis before exploring how the composer has set the text. (The poems have been presented and vocabulary assistance has been included where deemed necessary). Performance Techniques have been included to encourage individual interpretation. They consider vocal technique, diction, phonetics, style, textual and musical information, pedagogy and exercises. The exercises provided are specific to the song; however, most have a wider application and will be of assistance in different song settings. (The Appendix lists such alternative uses.) The section, Musical Concepts, discusses melody, harmony, tonality, duration and form, (tempo has been considered in the body of the text when it has a direct impact on interpretation). Songs from Australia is in no way the definitive text; it is anticipated that it will be used as a spring-board for further interpretation and analysis. In their own way, each of the four co-authors have been researching Australian songs; the Trinity College London Singing Syllabus for 2005 was the catalyst for this collaboration. The selection and grading of songs follows the new Australian component of the 2005 and 2009 Trinity Syllabus. AMEB grading is indicated where appropriate. The Trinity Syllabus Australian selection is comprised mainly of art songs. The art song is characterized by the close relationship of text and music; a song exists because the composer has an emotional reaction to a text. In Songs from Australia, Horace Keats chose the exquisite words of the poet Blake; Carl Vine was inspired by Elizabeth Barrett Browning; Ester Rofe could not disregard the tragic plea of the contemporary Australian poet, Tom Rothfield, and in stark contrast, Mervyn Peake’s witty observations of humanity captivated Stephen Yates. The folk songs, such as Moreton Bay and Waltzing Matilda, evolved from the story-telling tradition and are in a genre of their own. This is the first time that a book and accompanying MIDI file of this nature has been published on Australian songs. Studio singing teachers, school music teachers, performers and anyone interested in Australian song will appreciate this new concept. Each of the 27 songs has been recorded on CD by soprano Wendy Dixon and pianist David Miller and is also titled Songs from Australia and is availble online.
performancescience.org, 2009
Strategies professional singers use in the selection and preparation of twentieth and twenty-firs... more Strategies professional singers use in the selection and preparation of twentieth and twenty-first century art song were gathered from an inter-national study carried out by email during 2006-07. These strategies were applied in the preparation of 34 Australian art songs for a ...