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Contemporary Vocal Artistry in Popular Culture Musics: Perceptions, Observations and Lived Experiences

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Book cover Teaching Singing in the 21st Century

Part of the book series: Landscapes: the Arts, Aesthetics, and Education ((LAAE,volume 14))

Abstract

Contemporary vocal artistry is often discussed in somewhat veiled contexts. The term ‘artist’ is commonly used to describe a singer in popular culture musics (PCM) and, although inherent artistry is implied, what specifically constitutes artistry is largely undetermined in PCM. The qualitative research discussed in this chapter addresses the concept of artistry through the perspectives of artists and of potential influencers on artistry. The participants’ perceptions, observations and lived experiences provide rich data in which artistic parameters are clearly identified. The research identifies that artistry in PCM, its features and its influencers, simultaneously pose opportunities and distinct challenges for contemporary singers. Consideration of the embodied voice alone, devoid of its influencers, processing and treatments, is perceived as limiting potential artistry. While ‘true’ artistry is defined and celebrated, it is through discussion of individuality and its intrinsic creative, expressive and technological components that participants reveal strategies for developing and maintaining artistic integrity.

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Notes

  1. 1.

    Popular culture musics (PCM) is a term used to describe musical styles within popular culture (Hughes 2010). When considering this term it is noteworthy that in Dylan’s interview with Hilburn (2004), Dylan also discusses the songwriting process in relation to popular culture. Songwriting is widespread in PCM.

  2. 2.

    A hook is considered to be a memorable musical phrase that is typically easily repeated. Kronengold (2005) discusses the hook as ‘the most determinate aspect of a song’ (386).

  3. 3.

    In this context over-singing relates to overloading the singing voice by singing too loudly, or through pushing or forcing the voice to be heard.

  4. 4.

    Vocal load typically refers to the physical demands or phonatory effort (Chang and Karnell 2004) placed on the voice; this can be the vocal intensity, as a result of an extended time spent singing or through repeatedly singing for extended periods of time. It is noteworthy that participants also discussed artistic and stylistic demands that require a high level of phonatory effort.

  5. 5.

    The term ‘influencer’ is specifically used to focus the people that may impact on artistry separately to potential influences.

  6. 6.

    There have been recent high profile professional singers whose vocal health issues have impacted on career commitments (McKinley 2011). Learning to embody healthy vocal production is crucial to developing and sustaining career aspirations.

  7. 7.

    This acceptance speech was at the 54th Grammy Awards ceremony, February 2 2012, when Foo Fighters were awarded ‘Best Rock Performance’ for ‘Walk’, a track from Wasting Light [RCA Records/Roswell Records]. http://www.grammy.com/nominees. Accessed 20 May 2012.

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Correspondence to Diane Hughes .

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Hughes, D. (2014). Contemporary Vocal Artistry in Popular Culture Musics: Perceptions, Observations and Lived Experiences. In: Harrison, S., O'Bryan, J. (eds) Teaching Singing in the 21st Century. Landscapes: the Arts, Aesthetics, and Education, vol 14. Springer, Dordrecht. https://doi.org/10.1007/978-94-017-8851-9_17

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