In this treatise, I will examine musical theater as a pedagogical tool for adolescent singers who have just begun training in classical singing technique. In addition to being a viable performance outlet, musical theater offers the student repertoire options in English, and can be used as an exercise in song interpretation. An adolescent with a mediocre voice or limited range can find something within the repertory to accommodate their personal limitations without sacrificing their desire to sing. Musical theater repertoire is a valid teaching tool and, when addressed properly and taught with a strong technical foundation, can be an entertaining and worthwhile addition to the student's growing repertory of song. If approached with serious focus on proper vocal production, a show tune can do for an adolescent voice what an art song may not be able to: it allows the singer to practice their art, while serving as an exercise in interpretation, musicality, and emotional connection. It is my hope to provide insight into how to adapt a rudimentary classical technique to a young voice, in order to pursue this genre safely and efficiently. / text

abstract: Since its inception, the American Broadway industry has flourished and grown to include numerous vocal styles and techniques. The early twenty-first century has seen a rapid increase in demand for collegiate courses and instructors pertaining to music theater. It has therefore become necessary for voice instructors to be equally comfortable teaching both music theater and classical techniques such as bel canto. This document serves as a resource for instructors seeking more information on defining and teaching vocal styles in music theater including legit, mix, and belt. The first two chapters address the following three questions: 1) What is bel canto and how does the technique function? 2) What is music theater as a vocal style and how do colloquial terms such as legit, mix and belt function within music theater? 3) Are the technical ideas behind bel canto and music theater really that different? The third chapter offers a curriculum for a semester-long course (a hybrid between a song literature class and a performance-based seminar) called Singing Music Theater Styles: From Hammerstein to Hamilton. This course shows the rich development tracing techniques of bel canto through techniques used in contemporary music theater. This document concludes with an annotated bibliography of major sources useful to both the instructors wishing to teach this course and the performers looking to expand their knowledge of singing music theater. / Dissertation/Thesis / Doctoral Dissertation Music 2018

Made available in DSpace on 2016-12-08T16:52:05Z (GMT). No. of bitstreams: 1 77550.pdf: 1528021 bytes, checksum: b4fd8e931b49a466507efdcd89e8bd65 (MD5) Previous issue date: 2007-11-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study looks at theatre reception in the area of education. The focus of the investigation was the response of the audience to the performance Auto da Índia (Curitiba/PR): both by children of a public secondary school and adults who attended to one of its presentation. The understanding that theatre in education needs to balance the attention to the production and the reception is the main objective of this proposal. Studies of theories of reception were carried out in order to raise problems and questions. The Theory of the Aesthetic Reception, by Hans Herbert Jauss was identified as the key framework to the field work. The methodology included the analysis of former researches related to teachers training, interviews with director of the performance, and a questionnaire to gather the audience response to the presentation they had just attended. The concept of Horizon of Expectations was considered the key aspect of the data analysis. The concluding notes point both to the divergent readings of the performance by spectators with similar backgrounds, and to the role of the questionnaire to mediate the debate on reception in the classroom context. / Esta dissertação objetiva realizar um estudo sobre a recepção na área do ensino do teatro. Para a execução dela foi desenvolvida uma experiência sobre a recepção de uma peça teatral, envolvendo alunos da educação básica e público espontâneo. Se a recepção é um dos pólos do ensino do teatro, constatou-se por meio de entrevistas, as dificuldades do professor do Estado do Paraná quanto aos processos e às estratégias para trabalhar a recepção de espetáculos e a recepção de atividades teatrais em sala de aula. A investigação se valeu de um questionário que discriminou os principais eixos da montagem e suas respectivas características, para fazer um levantamento dos aspectos da encenação que causaram maior impacto no público. A fundamentação teórica esteve centrada na Estética da Recepção, especialmente no conceito de Horizonte de expectativas, desenvolvido por Hans Robert Jauss. Para tanto, realizou-se uma série de entrevistas com a encenadora do espetáculo Auto da Índia (Curitiba/2006), sobre o qual foi construído o questionário. O cruzamento dos dados revelou que as respostas mais significativas apontadas pelos espectadores não coincidiu com as expectativas da encenadora. Ao comparar os dois grupos pesquisados, comprovou-se que o espectador teve impacto em diferentes elementos da encenação. Este resultado permitiu discutir o potencial do uso de um questionário para explicitar as formas distintas de recepção demonstradas por um público. Nesse sentido, comprovou-se que o questionário é um recurso metodológico eficiente para o professor mediar a recepção, prática de fundamental importância para a formação do aluno espectador na área da pedagogia do teatro.