The male passaggio in classical singing, with reference to the [a] vowel and vocal pedagogy

Abstract

The male passaggio presents a challenge in vocal technique, especially when the [a] vowel is sung. As the bridge to the upper range of the voice it is especially important to the voice types which have to traverse that zone frequently. For both professional and student singers the management of resonance of the [a] vowel in the passaggio and above can result in a multiplicity of responses, affected by aesthetics, voice- category, vocal acoustics and physiology as well as specific musical requirements.

By adapting principles from Post-Positivist methodology this thesis explores the issues outlined above in the real-world ecology of two groups of singers: established professionals, and Conservatoire undergraduate students. Sung examples gathered from both groups is explored and analysed in order to understand in more depth the challenges, problems and possible solutions for resonance of the [a] vowel in the passaggio and upper voice. The software programme VoceVista is used to present spectrographic and electroglottographic views of the sung examples, providing thereby a means of making reasonably objective observations.

The data emerging from examples is related to vocal pedagogy and professional-student material is interrelated. The professional examples demonstrate a hitherto unreported distinctive resonance strategy used by one particular group of tenors. The student examples make it possible to observe developments over time in student resonance management, as well as elucidate some of the common facets of student singing.