Tracing the Development of Extended Vocal Techniques in ...

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APPROVAL PAGE This dissertation has been approved by the following committee of the Faculty of The School of Music at The University of North Carolina at Greensboro. Committee Chair __________________________________________ David Holley Committee Members __________________________________________ Robert Wells _______________________________________ Date of Acceptance by Committee _______________________________________ Date of Final Oral Examination __________________________________________ James Douglass __________________________________________ Nancy Walker iii
ACKNOWLEDGEMENTS I would like to express my deep gratitude to the number of scholars, composers and performers who generously provided me with an abundant source of information: Dr. Deborah Kavasch, composer and performer, Mr. Gwyn Pritchard, composer, Dr. Michael Edward Edgerton, composer, Ms. Joan La Barbara, composer, performer and EVT pioneer and Ms. Meredith Monk, composer, performer and EVT pioneer. I would also like to express my gratitude to the doctoral committee members who constantly provided their time, their knowledge and their encouragement: Mr. David Holley, chair, and committee members Dr. Robert Wells, Dr. James Douglass, and Dr. Nancy Walker. Additionally, I would like to thank a number of publishing companies and agencies for their permission to utilize specific musical excerpts. The excerpts from Cathy Berberian’s Stripsody (1966) and John Cage’s A Flower (1950), and Aria (1958) are used by permission of C. F. Peters Corporation. G. Schirmer, Inc & Associated Music Publishers, Inc granted permission to utilize the Charlie Rutlage (1920) excerpt, as did Carl Fischer, LLC who also granted permission for the utilization of Nov. 2. 1920 (1922). Lastly, the European American Music Distributors, LLC graciously allowed for the use of the Berio and Schoenberg excerpts. iv
Page 1 and 2: CRUMP, MELANIE AUSTIN. D.M.A. When
Page 3: To Dr. Robert Wells, Mr. Randall Ou
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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