An existentialist frame for singing and singing teaching

Abstract

An exploration of an existential frame for singing and singing teaching. The concept of a philosophical frame (as opposed to a theory) is described and defended, and an existential philosophical approach is explored in relation to other possible philosophies, and modified in the light of post-modern insights. This is followed by a practice-based analysis of the implementation of this approach. This frame is used to examine the application of the Alexander Technique to singing, and its implementation in a conservatoire context and to the other groups of singers described in the thesis. This analysis is based on the experience of specific groups of singers in the UK. The fundamental, underlying model of vocal use is that of bel canto singing (arising, of course, from a classical, opera-based context), but the point is made that this approach is also embraced by other genres besides that of opera singing. This frame is then applied to different singing constituencies, of different ethnic and neurophysiological backgrounds with an emphasis on detailed accounts of personal experiences of respondents and members of groups, since it is this detail which forms the fabric of this enquiry. The implementation of this approach is described and defended in relation to a singers’ summer school in Italy, to a group of singers with an autistic spectrum “disorder”, to a Jamaican jazz singer, and to another student of Gujarati origin from Kenya. It is also explored in relation to the present opera landscape, with particular focus on two contemporary opera groups, with an interview with the music director of one of them, and first-hand accounts of performances.