published_or_final_version / Speech and Hearing Sciences / Doctoral / Doctor of Philosophy

Winterreise : D. 911 / Franz Schubert. / text

Sonate pour basson et piano, op. 71 / Charles Koechlin -- Lachrymae : op. 48 / Benjamin Britten -- Concerto for saxophone and orchestra / Henri Tomasi -- Das Rosenband : op. 36, no. 1 ; Traum durch die Dammerung : op. 29, no. 1 ; September / Richard Strauss. / text

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Estelle Liebling (1880-1970) was a phenomenally successful voice teacher who occupies a place in the chain of succession of voice teachers devoted to the ideals of the bel canto. Turning out over seventy-five Metropolitan Opera stars over the fifty-plus year span of her teaching career, she was regarded during her lifetime as one of the most distinguished voice teachers in America. Her editions, compositions, and pedagogical writings exerted an influence on the world far exceeding the boundaries of the New York professional musical sphere in which she operated. Despite this, almost nothing has been written to date that documents her contribution to the world of singing. Much of Liebling's pedagogical outlook was derived from that of her immediate predecessor, Mathilde Marchesi, and direct comparison of Liebling's Vocal Course to Marchesi's Theoretical and Practical Vocal Method shows this relationship. Liebling herself acknowledged Marchesi's influence, but the pedagogy she espoused was by no means a carbon copy of that of Marchesi. Important differences exist, distinguishing Liebling's pedagogy as separate and individualized, a legitimate successor to the Marchesi Method. Liebling's legacy consists not only of her teaching and pedagogical writings, however. The tremendous body of vocal literature which she edited, arranged, and composed, mostly for coloratura soprano, is enough in of itself to justify her place in music history. Additionally, her catalogue work of cadenzas and ornamentation for coloratura soprano literature still stands today as the monumental work on the subject.

This research identifies successful compositional techniques for voice and marimba, intended for a single performer, through comparison of commissioned works composed by Beth Caucci, Philip Rothman, Emmanuel Séjourné, Raymond Helble, and Roger Foreman. The comparison highlights musical and technical aspects most effective when writing for this genre. My first personal experience combining marimba and voice occurred in January, 2003 during a performance of Šta Vidiš by Nebojša Živković. The piece, written in 1990, involves an ancient Serbian text chanted over a drone following an improvised introduction on the marimba. The performance’s positive reception inspired further exploration of this instrument combination. At the time of the performance, additional pieces for solo voice and marimba intended for a single performer were not available. Rather than focusing on transcription possibilities, I commissioned Four Songs by Beth Caucci. The premiere of Four Songs (October, 2003) resulted in another positive reception and led to inspiration for further commissions and development of this new genre. During the commissioning process, it became clear that a practical guide, concerning the possibilities and limitations of singing while playing the marimba, would aid composers in the creation of effective and playable works. Composers asked questions regarding technical aspects such as the maximum arm-span range possible, the difficulty of shifting the body angle to reach chords in various sharp and flat arrangements, and the feasibility of performing rapid passages on the marimba while sustaining a vocal line. This document offers an examination of these and other compositional considerations. The guide may also be used as a commissioning resource for other marimba and voice performers, as well as an aid in addressing technical demands of singing while playing the marimba. Recently, a few other percussionists have been working in the genre as well, including works performed, commissioned, or written by Brian Calhoon, Louise Devenish, Michael Neumeyer, and Dr. Lee Hinkle. The work of these musicians, in addition to my own commissions, is an illustration of how the genre has progressed during the last eight years and indicates the possibility of continued growth.

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