AbstractsLanguage, Literature & Linguistics

There are many young or inexperienced singers out there who are either unaware or misinformed as to the power of both character and the text in music. This thesis was an attempt to create an accessible guide on acting while singing those singers. Part review of literature and part pedagogical theory, it became a strong beginning argument for both why and how to act in song. In the first section, “A Call for Performance,” I argued for acting while singing, rather than complete reliance on the music to cover the drama. Then, I commented on existing texts in “Why this Thesis?,” pointing out things both positive and potentially limiting for the young singer. I also argue that the approach I, along with a few other authors, take – giving the singer options to increase their imaginative power – is more beneficial than telling the singer what to do. I then cover the importance of the text, sometimes overlooked in pedagogical studies, giving examples and exercises for the young singer to improve both consonant diction and understanding of the flow of the language. I touched briefly upon the score, reminding the student of both its power and its ability to absorb any decision he or she makes. I then listed additional resources to consider when studying the score and lingered for a moment upon the importance of thinking through rests. From there, I moved toward character, starting with the importance of imagination in singing, the strength and connection provided by a solid focus, the possibilities and reasons for movement or gesture, and, finally, basic steps for creating characters in vocal music. There are vocal exercises in the chapter entitled “The Text,” several examples throughout the thesis for the teacher of singing on how or what to ask the student, and finally, an appendix, which hopefully should serve as a quick reference guide for both beginning character development and exercises for the studio or practice room.