UC Santa Barbara

This document examines the emergence of cross-genre pedagogy in undergraduate vocal performance programs through the scope of 21st-century American opera. It explores the challenges and practical ways of incorporating cross-training into contemporary operatic repertoire. More specifically, it examines how traditional undergraduate music programs can approach the repertoire through cross-genre pedagogy. Additionally, the document investigates genre fusion and the integration of cross-genre elements in contemporary operatic compositions, focusing on their impact on thematic content, accessibility, and educational practices. Methodology includes surveys, interviews, and performance analysis involving classical voice students, instructors, and industry professionals.

This document presents American opera as a medium for development within the operatic and classical spheres. Over the centuries, American opera has evolved to reflect the diversity of the American population that performs and consumes it. Key elements, such as perspective and setting, illustrate significant areas of development, showing how American opera has shifted to address more grounded subjects, including social justice issues, the everyday struggles of Americans, and composers’ ongoing pursuit of a deeper exploration of humanity. The document also explores how these thematic developments connect intrinsically to the vocal portrayal of the musical work.

As the genre develops, elements such as text prominence and genre fusion become more apparent, requiring vocalists to master technical skills suited to cross-genre styles, including contemporary commercial music (CCM), jazz, pop, and musical theater. This cross-genre vocal training equips students with the versatility needed for broader career opportunities and benefits educators as universities increasingly seek voice instructors with cross-genre expertise. This pedagogical approach examines case studies from Cross-Training in the Voice Studio: A Balancing Act by Norman Spivey and Mary Saunders Barton and an interview with Dr. Dionne Napier, a voice teacher who specializes in teaching classically trained singers to perform CCM.

Through a questionnaire, 38 participants shared their experiences with 21st-century American opera. The sample included both students and teachers, and this document places their responses into dialogue to contribute to a broader conversation about the student-mentor teaching model traditionally used in American education. According to the data, the two reasons an undergraduate student may not be assigned 21st-century American arias are vocal or musical underdevelopment and repertoire unfamiliarity. Teachers said their students needed musical and technical maturity to assign the repertoire comfortably. In contrast, students reported that their teacher’s unfamiliarity with the repertoire was often the main culprit. By examining these findings, this document encourages the educational community to engage more deeply with 21st-century American opera.

Lastly, the document analyzes four arias to present the research from prior chapters. The arias “A Lucky Child” from At the Statue of Venus by Jake Heggie, “Mama’s Misgivings” from A Snowy Day by Joel Thompson, “Golden Heart” from Breaking the Waves by Missy Mazzoli, and “Congregation Aria” from Glory Denied by Tom Cipullo are analyzed for vocal moments where cross-training techniques can be utilized, either due to genre fusion elements or the aria’s emphasis on text prominence. Each aria examines its contribution to plot narrative and perspective, furthering the development of American opera. The author shares personal experiences in teaching or performing this repertoire and provides supplemental exercises and repertoire recommendations to support learning these arias.

The significance of this research lies in its commitment to advancing educational development for both students and teachers. The fusion of 21st-century American opera with other musical genres requires vocalists to navigate stylistic shifts with technical and expressive agility, reinforcing the importance of cross-genre training in the undergraduate studio. By equipping students with the skills to engage with contemporary operatic repertoire, educators equip their students to meet the artistic and technical demands of 21st-century American opera and other genres. This pedagogical approach not only broadens career opportunities for both teachers and their students but also empowers students to contribute to the continued evolution of the genre, ensuring American opera remains a dynamic and relevant art form reflective of the diversity and complexity of America today.