Diversity in the Voice Studio: Exploring “Diverse” American Art Song Rebecca Kidnie, Angela Nieman, Emily Worzalla, and Dr. Mitra Sadeghpour Department of Music and Theatre Arts University of Wisconsin-Eau Claire Abstract The vocal literature used in undergraduate voice study at American institutions is largely comprised of songs by composers of the Western European canon; inclusion of American music has only recently become more prevalent. We hypothesized that more American music is available than is being utilized, especially art songs by composers of diverse backgrounds, and that studying art songs by these composers could expand a student’s concept of diversity. Our goal was to create a source to aid in choosing and locating art songs that would increase students’ knowledge of diversity. Initially, we found it necessary to define “art song,” “American,” and “diversity” in order to select music to include in the source of 50 songs by diverse American composers. In October of 2009 we presented a lecture recital that included performances of thirteen songs from our repertoire source and material from our research. Next, we worked with the voice studio teachers from UWEC to assign these songs to students. Last, we administered a survey in order to assess the influence this has on the student’s knowledge of diversity. We also conducted interviews, analyzed responses, and completed the song guide. We anticipate that study of these songs will positively influence UWEC students’ concepts of diversity and that with the distribution of the repertoire guide this influence could be duplicated at other undergraduate institutions. Conclusion Research Process Stage 1  Definition of key terms- Art Song, American, and Diversity  Literature review of diversity in higher education  Collection of art songs by diverse American composers determined by:  Sexual orientation  Religion  Ethnicity All composers self identified as their diversity category  Annotated bibliography  Creation of guide to be used as a reference for singers and teachers in obtaining music from diverse American composers  Four research papers on the topics of:  The American Sound  What’s “Diversity” and Do We Need it in the Voice Studio?  What is Art Song and Diversity  The Sound of Diversity  Lecture Recital of our findings and presentation of “diverse” songs Stage 2  Distribution of songs to students in the voice studio  All of the students of Dr. Mitra Sadeghpour, Dr. Jessica Riley, Dr. Mark Mowry, and Dr. Daniel Newman were given songs from the repertoire guide  The voice teachers were instructed to treat these songs the same as all other repertoire  Creation and administration of student survey  Data collection in progress  Four individual case studies of students  One student from each of the four voice studios was interviewed  Survey of voice teachers  Data collection in progress  Final completion of repertoire guide that includes over 50 songs Research Application in Performance Examples From the Repertoire Guide Assessment Wallach, Joelle (b. 1946) Song:“Epistolary” (from Daughters of Silence: eight songs about experiences of women, 1991) Text: Personal Classified ad from New York Review of Books Voice: Soprano and piano Range: D4-A5 Description: The fifth song in the cycle, “Epistolary” is a lyrical, tonal (dm) setting of a woman’s personal ad in which she touchingly describes what she doesn’t want in a man. The tessitura is A4-C5 and both the flowing and occasionally chromatic piano and voice parts are accessible to intermediate undergraduate singers. 2’00” Publisher: Classical Vocal Reprints Wallach, Joelle (b. 1946) Song:“Epistolary” (from Daughters of Silence: eight songs about experiences of women, 1991) Text: Personal Classified ad from New York Review of Books Voice: Soprano and piano Range: D4-A5 Description: The fifth song in the cycle, “Epistolary” is a lyrical, tonal (dm) setting of a woman’s personal ad in which she touchingly describes what she doesn’t want in a man. The tessitura is A4-C5 and both the flowing and occasionally chromatic piano and voice parts are accessible to intermediate undergraduate singers. 2’00” Publisher: Classical Vocal Reprints Sargon, Simon (b. 1938) Song: “Loveliest of Trees” (from Loveliest of Trees: Six Songs Set to Poems of A.E. Houseman) Text: A. E. Houseman Voice: Tenor (High voice) and piano Range: C4-A5 Description: The text is a well known poem set by other composers and this setting can hold its own against the others. This piece is lyrical and flowing. The piano starts with rolled chords and then moves to arpeggiated chords and widely spaced triplets. This piece is good for intermediate singers. Most of the song sits below the passaggio with multiple excursions at dramatic points above the staff. 2’30” Publisher: Classical Vocal Reprints Sargon, Simon (b. 1938) Song: “Loveliest of Trees” (from Loveliest of Trees: Six Songs Set to Poems of A.E. Houseman) Text: A. E. Houseman Voice: Tenor (High voice) and piano Range: C4-A5 Description: The text is a well known poem set by other composers and this setting can hold its own against the others. This piece is lyrical and flowing. The piano starts with rolled chords and then moves to arpeggiated chords and widely spaced triplets. This piece is good for intermediate singers. Most of the song sits below the passaggio with multiple excursions at dramatic points above the staff. 2’30” Publisher: Classical Vocal Reprints Sample Student Survey Questions 1. What is diversity? 2. How important is diversity in your opinion? 3. How often is diversity addressed in your music classes? 4. What is your normal approach to learning a song? 5. Did you sing a song this semester that you considered diverse? 6. Do you feel more or less connected to this song than your other repertoire? Sample Student Survey Questions 1. What is diversity? 2. How important is diversity in your opinion? 3. How often is diversity addressed in your music classes? 4. What is your normal approach to learning a song? 5. Did you sing a song this semester that you considered diverse? 6. Do you feel more or less connected to this song than your other repertoire? Questions? Contact us at Research project and poster printing funded by the University of Wisconsin-Eau Claire Faculty/Student Collaboration Differential Tuition Grants Program Sample Student Interview Questions 1. Has diversity been a part of your life in a large way? 2. What song by a diverse American composer did you learn this semester? 3. What was your method and extent of research put into this piece? 4. When learning this piece did any topics of diversity arise between you and your professor or with other students? Sample Student Interview Questions 1. Has diversity been a part of your life in a large way? 2. What song by a diverse American composer did you learn this semester? 3. What was your method and extent of research put into this piece? 4. When learning this piece did any topics of diversity arise between you and your professor or with other students? We have found that there is a great benefit to teaching and learning repertoire of diverse American composers, though the project is still in the final stages of data collection and assessment. In addition to being introduced to new composers, these songs can provide an outlet for students to explore social, political, personal, and educational diversity in their own lives without directly addressing the topic of diversity. In learning these pieces students can learn more about their social, political, personal, and educational environments. Not only are these songs beneficial in crossing ethnic, religious, and lifestyle barriers, but they have great value as teaching tools for exploring new techniques in singing and contemporary musical styles. A sophomore music major said, “when you do a piece by an uncommon composer, especially of a different ethnic background, the music is just different.” Good music is good music. All of the composers that have been included in the guide have music accessible to young singers and they deserve to have their music studied and performed. The repertoire guide makes this music more accessible for students and teachers and increases awareness of issues of diversity through study in the voice studio. Results  All students indirectly discussed issues of diversity with teachers and peers  The students found the pieces challenging, but rewarding  The students enjoyed the “diverse” music  The students all noted that their ideas of diversity were challenged and expanded through the learning process Florence Price, composer of “Song to the Dark Virgin” Hugo Weisgall, composer of “My Lover Called” “At first I looked at it and saw one of my favorite texts and I was immediately smitten with the piece, even before I started learning it... This piece is probably my favorite in my repertoire.” -Sophomore Music Major “At first I looked at it and saw one of my favorite texts and I was immediately smitten with the piece, even before I started learning it... This piece is probably my favorite in my repertoire.” -Sophomore Music Major Examples of diverse American song literature