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WHEN WORDS ARE NOT ENOUGH: TRACING THE DEVELOPMENT OF EXTENDED VOCAL TECHNIQUES IN TWENTIETH-CENTURY AMERICA by Melanie Austin Crump A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts Greensboro 2008 Approved by ___________________________________ Committee Chair
To Dr. Robert Wells, Mr. Randall Outland and my husband, Scott Watson Crump ii
Page 1: CRUMP, MELANIE AUSTIN. D.M.A. When
Page 5 and 6: ACKNOWLEDGEMENTS I would like to ex
Page 7 and 8: Bethany Beardslee (b. 1927) .......
Page 9 and 10: CHAPTER I INTRODUCTION “The pathe
Page 11 and 12: capabilities as it pertains to voca
Page 13 and 14: CHAPTER II REVIEW OF LITERATURE Alt
Page 15 and 16: any historical information. As prev
Page 17 and 18: twentieth-century performance pract
Page 19 and 20: experimentalism, the country’s mu
Page 21 and 22: abstraction by deliberately obscuri
Page 23 and 24: Schoenberg (1874-1951) provided the
Page 25 and 26: industrialization. Therefore, an at
Page 27 and 28: e. Additionally, the influx of immi
Page 29 and 30: sound, resulting in new sonic uses
Page 31 and 32: Sprechstimme by combining both spee
Page 33 and 34: world, overthrowing the reflective
Page 35 and 36: shifted towards the philosophy of d
Page 37 and 38: propagated by the cosmopolitan of t
Page 39 and 40: which held tightly to bel canto, li
Page 41 and 42: Vocal Implications: Dadaism and Sur
Page 43 and 44: of the Surrealist movement. As Anha
Page 45 and 46: and Futurism presented the world wi
Page 47 and 48: purest form. His work with the huma
Page 49 and 50: Berio’s compositional goal was
Page 51 and 52: at a modern ballet recital and expa
Page 53 and 54:
States, including such composers as
Page 55 and 56:
Galas first worked with extended vo
Page 57 and 58:
CHAPTER IV NOTATION AND PERFORMERS
Page 59 and 60:
Figure 1: “Nacht” from Pierrot
Page 61 and 62:
Figure 3: Charlie Rutlage (1920), m
Page 63 and 64:
Figure 5: Preface material from A F
Page 65 and 66:
Figure 6: Symbols from page 1 of Ca
Page 67 and 68:
Figure 8: Stripsody (1966), from pg
Page 69 and 70:
during the blossoming of EVTs. Both
Page 71 and 72:
who hears sounds will try to find a
Page 73 and 74:
captivated audiences across the glo
Page 75 and 76:
The curiosity and exploration paid
Page 77 and 78:
she continued to perform with the v
Page 79 and 80:
emotions and ideas, Monk has succes
Page 81 and 82:
instruments and the development of
Page 83 and 84:
The great inventions and the indust
Page 85 and 86:
The virtuosic voice of Cathy Berber
Page 87 and 88:
BIBLIOGRAPHY “A New American Comp
Page 89 and 90:
_______. The 21 st -Century Voice C
Page 91 and 92:
Morgan, Robert P. Twentieth-Century
Page 93 and 94:
APPENDIX A PREFACE TO SCHOENBERG’
Page 95:
APPENDIX B PERMISSIONS FOR USE The
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