ADOLESCENT FEMALE MUSICAL THEATER BELT PEDAGOGY: PREPARATION, APPROACHES, AND EXPERIENCES OF OHIO MUSIC EDUCATORS

Transcription

1 ADOLESCENT FEMALE MUSICAL THEATER BELT PEDAGOGY: PREPARATION, APPROACHES, AND EXPERIENCES OF OHIO MUSIC EDUCATORS A dissertation submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Nancy Andersen Wolfgang May 2015

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3 ABSTRACT WOLFGANG, NANCY A., Ph.D., May, 2015 KENT STATE UNIVERSITY ADOLESCENT FEMALE MUSICAL THEATER BELT PEDAGOGY: PREPARATION, APPROACHES, AND EXPERIENCES OF OHIO MUSIC EDUCATORS (pages 251) Undergraduate music education programs traditionally do not address the vocal requirements of belting, a high-intensity form of vocal production commonly associated with musical theatre. Belting is characterized by a loud sound, a slightly elevated laryngeal position, and a fat, flat tongue. In-service music educators are often called upon to prepare adolescent female vocalists for roles that require belting in high school musicals. Studies (Davey, 2010; Williams, 2003) have shown that 80% of high schools produce a musical at least every other year. The purpose of this study is to examine the opinions, knowledge, and undergraduate training of vocal music educators regarding the use of belt by adolescent female singers. Vocal music educators who are members of the Ohio Music Education Association were identified through nonprobability sampling, and self-selected to participate in the survey (n=176). Data were collected through Qualtrics and analyzed using SPSS. Independent t-tests were utilized to determine statistical significance (p<.05) between the three sections of the survey and within section two of the survey. Optional written responses provided additional data. Results showed that although no subjects received formal training in the use of belt as part of their iii

4 undergraduate education, some still reported feeling confident in their ability to instruct students in the use of belt. Subjects with personal experience using belt were more comfortable using this technique with their own students. Written responses indicated a need for more information and undergraduate and in-service training in the use of belt. iv

5 TABLE OF CONTENTS TABLE OF CONTENTS...v LIST OF TABLES.. vii ACKNOWLEDGEMENTS viii CHAPTER 1: INTRODUCTION... 2 Purpose and Need for Study Research Questions Definition of Terms Scope and Limitations of the Study Summary CHAPTER II: LITERATURE REVIEW Introduction Belting and the Adolescent Singer Specific Studies on Musical Theater and High School Pre-service and In-service Teacher Training Summary CHAPTER III: METHODOLOGY Introduction Survey Development. 53 Participants Pilot Study. 59 Procedures. 71 Analysis Procedures.72 Summary CHAPTER IV: DATA ANALYSIS AND RESULTS. 76 Introduction Section One-Demographic Information Section Two-Opinions and Knowledge of Belt Section Three-Demographics Related to Undergraduate Training Descriptive and Inferential Statistics..111 Selected Questions T-Tests Within Section Two 132 Summary. 136 v

6 CHAPTER V: DISCUSSION Introduction. 141 Findings for Research Question Number One 144 Findings for Research Question Number Two Recommendations for Further Study Conclusions. 161 APPENDIX A: Informed Consent and Request for Participation Letter APPENDIX B: Survey on the Use of Belt by Female Adolescents APPENDIX C: IRB Approval APPENDIX D: Electronic Survey Completion Reminder Notice. 182 APPENDIX E: Changes to Section Two after Pilot Study 184 APPENDIX F: Description of Question Layout APPENDIX G: Written Responses for Section One APPENDIX H: Written Responses for Section Two APPENDIX I: Written Responses for Section Three APPENDIX J: Frequency Tables for All Sections REFERENCES vi

7 LIST OF TABLES Table Page 1. Correlations Between Responses in Section Two Correlation Matrix for Exploratory Factor Analysis Communalities Total Variance Explained Component Matrix for the First Six Factors Survey Questions Section One Survey Questions Section Two Survey Questions Section Three Belt Items by Gender Independent T-test for Equality of Means by Gender Frequency Table for Question 50 by Gender Belt Items by Educational Level Independent T-test for Equality of Means by Educational Level Frequency Table for Question 50 by Educational Level Frequency Table for Question 52 by Educational Level One-Way ANOVA for Years of Experience Tukey Results for Question 50 by Years of Experience Frequency Table for Question 50 by Years of Experience Independent T-test for Question Independent T-test for Question Independent T-test for Question Independent T-test for Question Independent T-test for Question Independent T-test for Question Independent T-test for Question Independent T-test for Question Independent T-test for Question vii

8 ACKNOWLEDGMENTS Many thanks to Dr. Patricia Grutzmacher for hours of reading and editing and for not letting me quit. Thank you to Dr. Patti Peters for the endless running of numbers. Thank you to all committee members for your meticulous examination of this work. Many thanks to my parents, LeGrand and Mary Anne Andersen, for giving the gift of music and a love of learning And thank you to my sweet men, Kevin and little Daniel, for whom this project cost the most. viii

9 2 CHAPTER ONE INTRODUCTION There is not a great deal of material that deals with the teaching of musical theater to high school students specifically (Tucker, 2010, p. 84). During the last century, the American musical grew in popularity throughout the United States in professional, community and educational settings. Researchers (Seidel, 1991; Waack, 1983; Peluso, 1971; Nocks, 1970; Burnau, 1966) have reported that through the last half of the twentieth century the number of high schools presenting musicals steadily increased. As the musical moved into the high schools, it brought with it unusual challenges, including the use of a technique of projecting the voice which differed from the traditional bel canto style commonly associated with classical vocal production. Early forms of entertainment on the American stage included operetta, vaudeville, and burlesque acts that commonly utilized the classical vocal style, usually featuring a soprano and a tenor in the leading romantic roles (Patinkin, 2008; Kislan, 1980). But as early as the mid-1930s, female roles were expanding from the typical soprano ingénue to character roles (Kantor & Maslon, 2004). Often these roles demanded a more robust, less refined vocal sound to match the needs of the script and the character. The term belting came to be associated with this style of vocal production. The first recorded use of the word belt as a verb, meaning to hit or attack, occurred in the 17 th century. The term, meaning to hit or knock out, was adopted during the 1930s by the sport of boxing. By the

10 3 1950s, the term, meaning to knock out the audience with a great performance, migrated to the American stage, (Lighter, 1994; Ruhl, 1986) The vocal music industry has yet to adopt a common pedagogical definition of belt. This word means different things to different people, and the belt sound can have differing qualities that one person might call belt, another twang, and still another nasal (LeBorgne, 2001; Sullivan, 1989; Lebon, 1986). This lack of a common definition causes problems in communication regarding the use of the belt voice. Furthermore, there are several different Broadway vocal styles, not just belt, some of which more closely resemble classical training than belt (Pickle, 1997). This style is commonly referred to as legit, which is short for legitimate, meaning the singer uses elements of the musical theater style but does it with a classical voice production similar to what is used in operetta. Miles & Hollien (1990) based their definition of belt on four perceptual judgments of sound: loud, heavy phonation, little-to-no vibrato, and a high degree of nasality. Bevan (1989) also reported that belt was perceived as loud and requiring more vocal effort. Estill (1988) taught that belting is created, in part, by a nasal placement and described it as loud and brassy, or sounding like yelling. Popeil (1999) also described belting as speech-like or yell-like. Other examples of words used to describe the belt sound include chest, pop, and mixed singing (LeBorgne, 2001). Tucker (2009) used three definitions for vocal styles used in musical theater: legit as in the style of nineteenth century operetta; mix as a melding of the chest and head registers; belt-mix, a type of belt in which the larynx is held in a lower position resulting in less tension. Sullivan (1989)

11 4 described many different types of belt, including the use of terms such as split-belt, twang, or nasal. This lack of agreement on terminology makes it difficult for teachers to find common ground for discussion, let alone impart clear understanding to their students. Regardless of the style being sung, all vocal production should function under this premise: respiration feeds phonation which then feeds resonance, all of which are colored and supported by artistry and alignment (LeBorgne, 2011). Tucker (2009) agreed, stating that good vocal training utilizes proper posture and alignment, good breath support, and lack of extra tension in the body. In terms of vocal beauty, Ekholm et al. (1998) presented the following thirteen characteristics: appropriate vibrato, resonance/ring, color/warmth, clarity/focus, intensity, dynamic range, efficient breath management, evenness of registration, flexibility, freedom throughout the vocal range, intonation accuracy, legato line, and diction. The more proficient a singer is at producing these acoustic events, the more beautiful the voice is perceived (Ekholm et al, 1998, p. 158). A second look at these parameters indicates they are not vocal-style specific; they could be describing classical production, musical theater production, and even pop/rock production. Based on the information cited in this study, the following parameters will be used to define belt: the vocal tract is in a shorter and wider configuration with a slightly raised larynx; the corners of the mouth are retracted, or slightly pulled wide and back towards the ears, as if smiling, which helps shape a bright, loud sound. The safe production of belt requires concentrated core muscular support and high amounts of energy (LoVetri, 2003; Popeil, 1999; Estill, 1988; Boardman, 1987).

12 5 According to Ruhl (1986), belting was introduced to the mainstream as early as the turn of the twentieth century by African-American blues vocalists. Shaw (1982) placed the development of belting in the early 1950s with the rise of pop/rock music. However, in the musical theater genre, many scholars consider Ethel Merman to be the first modern Broadway belter. She was not a formally trained singer and had a very unconventional, bright, and extremely loud voice that composers loved. Gershwin, Berlin, and Porter all enjoyed writing roles for her because her unique vocal abilities allowed them to write female character roles (Patinkin, 2008; Kantor & Maslon, 2004). By the late 1940s, the plots of musicals expanded to include two female roles, one soprano and one belter. The soprano often remained the love interest while the belter served as the quirky sidekick or worldly-wise counterpart as manifested in musicals from Anything Goes to Oklahoma to Guys and Dolls (Kantor & Maslon, 2004). By the early 1970s the form had developed to include using belters to sing the leading female role. One of the ways this was accomplished was that songs were written in lower keys to allow for a full voice belt to be utilized. However, by the late 1990s, composers writing for female belters were expanding the vocal range to include pitches traditionally sung by sopranos. This resulted in the development of a sound commonly referred to as high belt or mix-belt, in which the singer carries the belt quality much higher. In women, belt can be produced in two ways. Each of these methods is dependent on the balance among the cartilages and muscles housed in the throat and surrounding the vocal folds. These muscles and cartilages are in a constant state of

13 6 change when the vocal folds are active. It is the balance of these muscles and cartilages at any given point in time that determines, in part, what pitch is being produced and the quality of the sound (McKinney, 1994). When the muscles and cartilages known as the thyroarytenoids are predominately in use, the resulting sound is heavier in timbre. This is referred to as a heavy mechanism. When the muscles and cartilages known as the cricoarytenoids are predominately in use, the resulting sound is lighter in timbre. This is referred to as a light mechanism (LeBorgne, 2011; McKinney, 1994; Estill, 1988). Therefore, one style of belting is when a heavy mechanism is carried as high as possible, usually topping out at C5 1. It employs very limited use of the light mechanism. The other style is created when a mix of the heavy and light mechanism occurs in the mid-range, usually beginning around F#4. Allowing a gradual mixing from the heavy mechanism to the light mechanism allows the belt quality to be carried higher, sometimes even as high as A5. This method of production is often called the mix-belt. Few studies, if any, define the difference among vocal production methods within the genre of belt. It is also difficult for the adolescent to produce either style due to the immature vocal mechanism and the limitations of the developing voice (Tucker, 2009). Therefore, for the purposes of this study, no differentiation will be made between the heavy belt and the 1 One of the common ways to identify a specific pitch is to place it on the piano keyboard. The piano has 88 keys. Starting at the bottom of the piano and ascending the keyboard gives each specific pitch a designation based on the name of the note and number of octaves from the lowest key. An octave is an eight-note pattern that repeats over and over. When starting from the bottom of the keyboard, any note in that first octave would be designated as 1. For example, A1, B1, C1, etc. The pitch referred to as middle C is located in the middle of the keyboard and is designated as C4. The pitches referred to in this paper are all above C4, which places them predominately in the female range.

14 7 mix belt; both qualities will be referred to as belt. This study does not refer to or address the style of screlting, or the pop/rock sound on the musical theater stage. The study and teaching of the western classical sound, known as bel canto, has been taught since the 17 th century, and since that time has been considered the correct method of vocal production (LeBorgne, 2001; Schutte & Miller, 1993). Production of the belt sound has long been suspect by teachers of classical voice (LeBorgne, 2011, 2001; Noone, 2008; Pickle, 1997; Sullivan, 1989; Bevan, 1989). This is, in part, because the term belting has often been used synonymously as an unhealthy use of the vocal mechanism. However, much of the criticism of belt production is based on personal dislike of the auditory and acoustic properties rather than authenticated study of how the sound is produced (Ragsdale, 2004, Bevan, 1989). It only has been in the last several decades that the use of the belt voice has gained validation through scientific study (LeBorgne, 2011, 2001; Noone, 2008; Melton, 2007; LoVetri, 2003; Schutte & Miller, 1993; Miles & Hollien, 1990; Sullivan, 1989; Lebon, 1986, Lawrence, 1979). Research has shown that the belt sound is produced in a different manner than the classical sound and can be produced in a healthy manner (Melton, 2007; Ragsdale, 2004; LoVetri, 2003; LeBorgne, 2001; Sullivan, 1989; Lebon, 1986). In 1990, Miles and Hollien presented an essay on belting. Although they admitted that their findings were based solely on their observations and were not based on empirical study, it was a good example of how the misconceptions of belt are perpetuated. Their observations were mostly presented from a negative perspective. Miles and Hollien presented the idea that belting was an extension of the chest voice into

15 8 higher registers than normally seen, resulting in the voice working in higher frequencies. It was further suggested that the belt would break or crack at C5 due to the inability of the larynx to remain in a raised and tilted position at that pitch. While there is truth in both of those statements, the article also had a large section about the detrimental effects of belting, including an unsubstantiated claim that nodules and permanent damage would occur to the vocal folds if singing in the belt style. Eventually researchers presented information that the incident of vocal pathologies in belters and classical singers is approximately the same (LeBorgne, 2011), but it was this kind of opinionated reporting that often resulted in the perception that the use of belt would be detrimental to a singer. Miles and Hollien further stated that the ability to belt is an inborn characteristic reserved for extraordinary voices. In other words, it cannot be taught. Silver (1985) had presented this same opinion five years earlier stating that belters are born, not trained. However, as understanding of belt pedagogy progressed, other researchers presented information that healthy belting can, in fact, be taught (Sabella-Mills, 2010; Tucker, 2009; Hall, 2007; LoVetri & Weekly, 2003; LeBorgne, 2001; Edwin, 1998; Schutte & Miller, 1993; Estill, 1988; Boardman, 1987; Lebon, 1986). With the popularity of musical theater in high school and the various vocal styles that can be used, it is imperative that music educators are trained in, and aware of, healthy belt production. The adolescent voice is already vulnerable due to the immaturity and instability of the changing vocal mechanism (Tucker, 2009). The adolescent singer usually has limited vocal training as well. When the adolescent singer tries to imitate

16 9 mature voices without being adequately trained, an environment for the possible development of vocal pathologies can be created. Music educators need to be aware of the abilities and limitations of the adolescent singer in order to provide the best guidance regarding correct vocal use. Use of amplification can be one of the ways of providing protection for singers. Musical theater performers usually have an expectation of amplification. Some classical enthusiasts consider this as a signal of vocal inferiority (Pickle, 1997). Opera singers are trained to sing over an orchestra by utilizing the ring of the voice along with placement (LeBorgne, 2001). However, for the musical theater singer, amplification allows the singer to be heard over electronic instruments (Jamison, 1996). Musical theater singers are also expected to sing up to 8 shows a week, as opposed to the 2 or 3 of an opera singer. Use of amplification is a protection device, allowing the singer to work not as hard. In addition, since story telling is the focus of musical theater singing, use of amplification allows the singer to use a wider range of vocal coloration, pitch range, and dynamics. Use of amplification should not be considered a compromise of musical integrity (Noone, 2008; Pickle, 1997). LeBorgne (2001) and White (1978) both advocated that amplification should be used even at the high school level. This, in turn, calls attention for the need of the high school to afford and correctly use good quality amplification. Purpose and Need for Study The purpose of this exploratory study is to examine opinions, knowledge, and training of high school music educators regarding the use of belt by adolescent females.

17 10 In-service high school music educators were asked to complete an online survey that examined their undergraduate and in-service training and preparation to teach belt, and knowledge and personal opinions regarding the use of belt. The objective is to identify what training high school music educators receive as part of their undergraduate studies to teach musical theater vocal production and their respective personal knowledge and opinions of belt vocal production. The choice to use an exploratory study was based on the lack of research on this specific topic. Exploratory studies are often used when a topic is being examined for the first time. Using this kind of a study initially collects large amounts of information on a particular topic. Exploratory studies often fail in terms of generating data that is statistically significant (p<.05) due to the nature of collecting large amounts of information, but the information that is gathered can then be examined and refined to inform further research. Exploratory research can help to define what questions should be asked and what specific focus a strand of research should take (Jupp, 2006). High school choral music, band, drama, or language arts educators may be given the assignment of directing the school musical whether or not they have the training or knowledge to do so (Davey, 2010; Tucker, 2009). Of the studies that do exist, none of them specifically discussed the use of the belt voice. Davey (2010) reported: Aside from Williams dissertation (2003) on the wide ranging duties of the music educator in working in musical theatre, recent writings on musical theatre in education are limited to a small number of studies on musical theater and related topics, articles in professional journals,

18 11 books on musical theatre history, and how-to books on the practical aspects of production (p. 5). Limited research has been done specifically focusing on belt and its effects on the adolescent voice. Smith-Vaughn (2007) conducted a study that examined the effect of different singing styles on the developing adolescent voice. The researcher looked at three different vocal styles: choral, gospel, and musical theater. The researcher used a stroboscope (a tool for examining the vocal folds in which a small camera is threaded through the nasal passages so that it is placed in position to photograph the movement of the vocal folds) to measure tension and found that laryngeal imaging showed that musical theater produced the most tension in the young singer, followed by gospel, and then choral. However, in an auditory evaluation, evaluators found no difference among the three styles. Smith-Vaughn argued that the adolescents who are most at risk for developing pathologies are those who have little or no vocal training and compensate with poor vocal technique. The researcher noted that very often the difficulty for the young singer attempting to sing a Broadway score is the tessitura, or the common pitch range within a piece of music. Smith-Vaughn further reported that fatigue is a common pathology of the young singer. This can be due to over-singing, lack of amplification, or lack of knowledge on how to protect the vocal mechanism. Smith-Vaughn concluded the study by calling for more research on the adolescent voice and the need to ensure healthy singing in students. Waller (2007) developed a profile of the adolescent singer and speaker. In the study, he noted that one of the concerns of middle and high school choral educators is the

19 12 use of incorrect or unhealthy technique by the student and the increasing demands of a mature repertoire. Waller noted that in adolescence, major physical changes occur including, but not limited to, lengthening and thickening of the vocal folds, the stiffening of cartilage, and the location of the vocal process moving from being located by the first and third vertebrae to between the sixth and the seventh. Incomplete glottal closure, or the inability of the vocal folds to correctly come together along the full length of the folds, is common among young female singers, which can be a problem as research has shown that the glottis remains closed longer when belting. It may be that the physical inability to fully close the glottis manifests as tension, because the body is being forced to do something it physically cannot do. Andrews (1997) examined children who use high speech or singing patterns. Andrews noted that some of these children have the opportunity to study with vocal professionals who can help them navigate the demands of vocal use at a young age. Other children, however, do not have the appropriate training to meet vocal demands that can lead to them being more susceptible to developing vocal pathologies. Of greatest concern is the child who develops patterns of excessive vocal use to meet a specific need, such as a heavy mechanism belt, and then adopts this as the normal mode of voice use. This might especially be true for the adolescent singer trying to compensate for vocal deficiencies experienced as the voice mutates toward a more mature production. Jamison (1996) examined what expectations should be made of the adolescent singer, and discussed the difficulties that might be present in the young singer, including fatigue, inadequacy of technique, musical demands, length of rehearsal time, incorrect

20 13 vocal technique, and unrealistic expectations from adults. Jamison also noted that incorrect repertoire was a common cause of difficulties for the young singer. For example, classical repertoire is assigned by range and timbre, allowing for a close match between the demands of the song and the ability of the singer, whereas musical theater repertoire is often set in the key best suited to the original Broadway artist. As early as 1978, White had already addressed these issues noting that fatigue is the most common problem for the young singer. He also called for special attention to be given in selecting a musical that is appropriate for young singers. White suggested that casting be made by vocal ability and not physical type. He also called for the use of amplification and a rehearsal schedule that addressed reducing fatigue. White cautioned the profession to select age appropriate material. Unfortunately for the young singer, musical theater roles are usually written for vocally mature professional singers and may be beyond the physical and developmental abilities of young singers. While many voice professionals would balk at requiring their young singers to perform a Verdi or Wagner opera role, young singers are often asked to take on musical theater roles beyond their current abilities (Sabella-Miles, 2010). Both styles of singing have specific requirements that require mature, trained voices to successfully accomplish the requirements of the music. Awareness of the challenges facing the adolescent singer can aid the voice professional in helping the singer develop and utilize a healthy production. However, the adult in charge of the musical often has limited, if any, training in teaching voice or in dealing specifically with belt vocal production (Davey, 2010; Williams, 2003; Lovetri & Weekly, 2003; Binnema, 1996; Sample, 1964).

21 14 This misperception has been further exacerbated by the television show Glee that portrays mature twenty-something singers, many with Broadway credits, as high school students. The plot revolves around a group of students who have incredible voices and who gravitate to the school s show choir. While not even a class in the curriculum, the show choir presents weekly major production numbers complete with costumes, choreography, live musicians, and professional-level singing. Several researchers (Bishop, 1994; Howard, 1990; Weiss, 1978) note that students are not professional performers and that the goal of the high school production should be a balanced combination of education and artistry. Glee portrays an unrealistic example of the abilities of high school performers (Olsen, 2011). The adolescent voice can be at a variety of developmental levels, most of which are not strong enough to handle the requirements of the musical theater repertoire. Those voices that mature early are the exception, not the rule. Davey (2010) engaged in a study that looked at the attitudes, preparation, and responsibilities of the secondary music education teacher in producing the high school musical. Davey found that 35% of the respondents to his survey reported that their own interest in musical theater originated from their own experience in high school. Of those same respondents, 65% reported receiving no training in undergraduate studies in teaching others in musical theater vocal production. Curiously, 61% of those same respondents reported feeling competent in working with singers of the musical theater genre. Most music educators reported little to no preparation for the musical theater experience, claiming to get most of it through active participation in the activity. While

22 15 Davey s study yielded much additional useful data, it focused on multiple topics of producing a high school musical. It did not specifically address training and attitudes of music educators toward the use of belt. Williams (2003) engaged in a study that examined the proficiency of music educators in dealing with non-musical aspects of the high school musical. In a survey of pre-service teachers, respondents reported they did not feel prepared by undergraduate or graduate courses to take on the role of producer, director, or set designer. While these findings may inform additional areas of study for the pre-service teacher, Williams study did not address any of the musical aspects of the high school musical, including either the use of belt or the needs of the adolescent singer. LoVetri and Weekly s (2003) study addressed the preparation of teachers to teach more contemporary vocal styles. However, their study focused specifically on collegelevel and private studio voice teachers and did not include secondary music educators. LoVetri and Weekly stated the need for teachers that were specifically trained in the contemporary styles, noting that even if a student recognized the need for specialized vocal training, it was difficult to find. Howard (1990) presented a study in which she developed a form for high schools to use to identify performance problems when selecting a musical. The form provided structure for overall evaluation ranging from number of roles to difficulty of orchestration. It indirectly addressed the needs of the adolescent singer by encouraging examination of tessitura. What it did not define were the needs of the adolescent singer or the methods that can be utilized to teach the singer appropriate vocal technique.

23 16 Tucker (2009) presented narrative research focused on teaching musical theater voice to the high school student. While the information was valid, Tucker did not discuss how to teach musical theater voice. Instead, Tucker focused on how the sound differed from classical production and specifically how it manifests in the adolescent voice. Several studies have documented that music educators often do not have training in the area of belt vocal production (Davey, 2010; Tucker, 2009; Phillips, 2004; Williams, 2003; Van Houten, 1996; Hobgood, 1991; Robinson & Poole, 1990; Burnau, 1970; Sample, 1964). What has not been examined is what the high school music educator specifically knows about how belt is produced. Therefore, students seeking to study in the belt style often have to look to a private teacher for training, as even collegiate programs tend to focus on classical training (LoVetri & Weekly, 2003). However, there is no licensing procedure currently in place for private voice teachers. This lack of quality control can sometimes leave students at the mercy of nonprofessionals that may or may not have the training and understanding to teach belt in a healthy manner (LoVetri, 2011; Schutte & Miller, 1993). Any misuse of the voice can result in vocal pathologies that can require simple corrective techniques up to vocal fold surgery to correct (Miles & Hollien, 1990; Lebon, 1986). However, Estill (1998) and Thurman and Klitze (1994) believe that belting can be performed safely even in young singers as long as they are trained correctly. It is not the belt style that causes damage; it is the incorrect production of belt that has the potential to cause damage. This point holds true for any style of vocal production (LeBorgne, 2011; Tucker, 2009; LoVetri, 2003; Lawrence, 1979). Therefore, it becomes imperative that if

24 17 a high school is going to allow a student to use belt vocal production that, first, the educator is able to identify that belt is being used, and, second, there must be someone trained and knowledgeable in the use of belt available to assist the student. In summary, while there are studies that examine various aspects of the high school musical, there are few that address the needs of the adolescent singer, and none that specifically address the preparation of music educators to teach belt to the adolescent singer. Additionally, there are no studies that specifically address the knowledge and opinions held by music educators regarding the use of belt by adolescent singers. Therefore, this study will be exploratory in an attempt to find ways of addressing the topic and identifying avenues of research. Research Questions This study examines the knowledge and opinions of high school music educators regarding the vocal style known as belt. In addition, the study will identify if, and to what level or depth, the subjects received undergraduate or in-service training in teaching and using belt. Through the use of an online survey, the following questions will guide the research: 1. What are the opinions and knowledge of high school music educators regarding the use of belt by female (ages 13-19) adolescent singers? 2. What education or experiences do high school music educators have to prepare them to instruct female adolescents in the correct production of belt?

25 18 Definition of Terms This glossary provides definitions of words used in this study. Some of words may be unfamiliar to the reader so the definitions are presented in one of two forms. One form is a simple definition of the vocabulary term. The other is a definition based more on physical function such as a description of the process represented by the word. Adolescent For the purposes of this paper, adolescent will refer to female students grades Depending on each student s birthday, these students could be between ages Bel canto An Italian form of singing that flourished from the 17 th to 19 th centuries. It requires a clear and consistent tone, long phrases, evenly sustained notes, the ability to sing at different volumes, and good enunciation (Grove s, 1995). It requires a low larynx, long vocal tract, a throat free of unnecessary tension, especially at the top of the throat, and heavily relies on the breath. It is still upheld as the classical tradition today (LeBorgne, 2001; Schutte & Miller, 1993). Belt Although not formally adopted by the vocal community, belt is often described as a form of vocal production that utilizes high emotion, lower tessitura, a raised larynx, thick vocal folds, a bright, loud sound, and requires tremendous energy to produce (Tucker, 2009; LeBorgne, 2001; Boardman, 1987). In an effort to ascertain what the subjects in this study knew without providing any additional information, belt was

26 19 defined to the survey subjects as the Broadway sound in its broadest sense or a sound that is not classical or bel canto in nature. Chest Voice Chest voice refers to the lowest registration of the female voice. It extends from an individual s lowest note to E4/F4 (see footnote on page 5). It is not belt (Balog, 2005; Bevan, 1989) and has its own characteristics that include a rich, warm tone and uses many overtones. If the chest voice is carried past E4/F4, the sound becomes thin as the larynx begins to rise and the vocal folds begin to elongate (Tucker, 2009; Bevan, 1989). Contemporary Commercial Music (CCM) A term coined by LoVetri &Weekly (2003) that encompasses all contemporary vocal styles such as belt, gospel, pop/rock, jazz, country, etc. Glottal Closure The glottis is the open space between the vocal folds. It is open during normal breathing, but is pulled to a slit formation during phonation. The research on glottal closure suggests that the glottis is closed for longer periods when belting than when utilizing bel canto style singing creating more subglottal pressure (Estill, 1988; Lebon, 1986; McKinney, 1994). Golden Age An era in musical theater that began with Oklahoma! in 1943 and ended with Fiddler on the Roof in 1964.

27 20 Heavy Mechanism A term used to describe both the auditory perception and physical construction of a sound. It refers to a brighter, fuller sound in which the thyroarytenoids are predominately in use. When the thyroartenoid muscle is engaged, the vocal folds are pulled into a state of tension, which in turn pulls the arytenoids forward which in part determines the pitch of the sound (McKinney, 1994). High Belt A style of belting which is utilized an octave higher than heavy mechanism belt usually beginning around C5. It is a head voice placement that employs pharyngeal resonance, a wide and puffy tongue, and a forward lip posture (Sabella-Mills, 2010). High School Music Educator This term refers to both vocal and instrumental teachers teaching in a 9-12 high school program. Some states grant a K-12 music teaching license so a teacher who considers her/himself primarily an instrumentalist may be assigned to teach vocal music classes. Light Mechanism A term used to describe both the auditory perception and physical construction of a sound. It refers to a lighter, higher sound in which the cricoarytenoids are predominately in use. The cricoarytenoids resist the forward pull of the arytenoid by the vocalis muscle and also abduct the vocal folds by pulling the arytenoids out to each side (McKinney, 1994).

28 21 Mix-Belt An alternative to a full voice belt that moves the placement of the tone more into the front of the face, resulting in a bright, forward sound. This placement allows the larynx to sit in a lower position than with belt, allowing for smoother transitions between registers. The soft palate is held in a high position in order to lessen the possibility of nasality (Tucker, 2009). Nasal Placement The sound that occurs when the velopharyngeal port is left open causing the resonance to occur in the nasal cavity resulting in a nasal or twangy sound (O Connor, 2015). Open Throat A complex process that is both a pedagogic instruction and a perceived sensation or action that results in a specific sound quality... which is perceived as resonant, round, free, pure, rich and warm (p. 430) and lacking in tension (Mitchell & Kenny, 2008). However, there is disagreement as to exactly what this term is describing. Miller (1996) refrains from defining the term, preferring to simply state the commonalities among definitions as a sense of openness but a lack of distortion in the sound. Registration This term has long been used by the voice world to describe the shift that occurs as the voice modulates. These areas have traditionally been designated as the chest, middle or mix, and head voice. Vennard (1967) described it as an adjustment of the larynx which produces tones of a particular quality for particular demands of range,

29 22 dynamics, etc. (p. 248). Current research is moving away from that definition, as it tends to create an image that at a particular pitch, the voice makes an abrupt adjustment and resets to a new formation. Instead, researchers are moving toward the concept of vocal tract reactance that refers to the continuous reshaping of the vocal tract during use (Titze, 2010). Resonance The process by which the basic product of phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air (McKinney, 1994, p. 27). Resonance is therefore in part determined by an individual s physical make-up including physical size, shape of the head and mouth, available open spaces in the nasal passages and sinuses, etc. Stroboscopy The practice of using a strobe to make cyclically moving objects to appear to be in slow motion. It is used to examine vocal fold movement, usually by inserting a rhinolaryngoscope through the nose so that it is placed in position to photograph the movement of the vocal folds. Tessitura A term used to refer to where the average position of the notes in a piece of music lies in relationship to the instrument for which it is written (Grove s, 1995). Timbre An English adoption of a French term meaning an expression for the quality of a sound, often referred to as tone-color. For example, a timbre could be light or heavy.

30 23 Vocal tract This term describes the physical parts used for vocal production. It extends from the lips to the vocal folds and includes the following: lips, teeth, oral cavity, hard palate, soft palate, lower jaw, trachea, epiglottis, glottis, and vocal folds (McKinney, 1994). Vocalis muscle The vocalis muscle comprises the front two-thirds of the length of each vocal fold. When contracted, it pulls the arytenoids forward, shortening the vocal folds, and thus creating a specific pitch (McKinney, 1994). Scope and limitations of the study Research (Davey, 2010; Tucker, 2009; Williams, 2003) has shown that undergraduate programs do not offer adequate training in preparing music educators for producing musicals at the high school level. However, none of these studies has focused specifically on examining the preparation of music educators to teach belt pedagogy and the needs of the female adolescent singer. This study will assess how well prepared music educators are to address vocal production issues in the high school musical. The study will identify the depth and breadth of training music educators receive specific to the belt voice as part of their undergraduate training. It will also examine what knowledge and opinions music educators have regarding the use of belt. Results will be analyzed as a way of providing suggestions for changes to undergraduate programs and avenues for further research. This study was limited to in-service teachers in music education and does not include other educators who may also work with singers in preparation for high school

31 24 musical productions. Participants were high school vocal music educators who were members of the Ohio Music Education Association (OMEA). They were asked to complete an survey that was administered via Qualtrics. No differentiation was made between school district settings. However, since only vocal music educators from one state were surveyed, the results may represent geographic tendencies that might not be found in other areas of the United States. Association members self-select for membership in this professional organization, so not all music educators in the state of Ohio received the same opportunity to participate. Association members also had the choice not to participate in the survey, so results were limited to those members who selfselected to participate. Summary Studies (Davey, 2010; Williams, 2003) have shown that 80% of high schools produce a musical at least every other year. The responsibility for producing the musical often falls to the vocal music educators whether or not they have the training or knowledge to provide correct technique to young singers. The purpose of this study was to examine the knowledge, opinions, and training of high school music educators regarding the use of belt vocal production by adolescent females. While there are studies that examine different production aspects of the high school musical, there is limited research on the extent of knowledge and training held by educators regarding their understanding of belt and how belt might affect the female adolescent singer. The study was guided by the following research questions: (1) What are the opinions and knowledge of high school music educators regarding the use of belt by female (ages 13-

32 25 19) adolescent singers? (2) What education or experiences do high school music educators have to prepare them to instruct female adolescents in the correct production of belt? This chapter provided a definition of the term belt through its historical development in musical theater. This was followed by a description of how belt is produced and an introduction of the possible vocal difficulties in the use of belt by the female adolescent singer. A brief discussion of the negative perceptions of belt was included as an introduction to some of the perceived issues regarding belt. Several studies (Smith-Vaughn, 2007; Waller, 2007; Andrews, 1997; Jamison, 1996; White, 1978) were presented that examined some aspect of musicals and the adolescent female performer. Most of those studies looked at the use of extreme speech or singing of any type. None of them focused specifically on the use of belt and the adolescent female. Studies that examined the role of the high school music educator and the musical were presented. Davey s (2010) study examined the requirements for the high school music educator in producing the musical. Tucker s (2009) study presented a narrative on how musical theater vocal production differs from classical vocal production. However, Tucker did not offer information regarding the training of belt. Williams (2003) study examined the non-musical aspects of producing the musical. LoVetri and Weekly (2003) looked at the preparation of collegiate and private voice teachers to teach belt and contemporary vocal styles. In 1990, Howard developed a form to help educators select a musical, but the form examined all aspects of the music, not just vocal production. A definition of terms was presented. A discussion of the scope and limitations of the study

33 26 was presented. Those limitations included the inclusion of educators in only one state and the issue of self-selection for participation. Chapter two consists of a review of literature. The first section examines the issues regarding the definition of belt. Several studies are discussed that examine the use of belt by adolescent singers. The third section specifically examines the training that music educators receive in the area of musical theater production. Studies regarding assessment scales and lists of age appropriate shows are presented. Finally, studies that call for the need for music educators to receive training in the various areas of a musical are discussed. Chapter three introduces the methodology that was used for data collection. Detailed descriptions of question formatting are given. Studies that informed the development of this survey are discussed. The process of selecting the sample is explained. Detailed information regarding a pilot study is presented. Procedures for survey distribution are given. In-service music educators were asked to complete a survey online via Qualtrics. Participants were sent a letter of introduction and then the survey. They were given four weeks to complete the survey. Data was collected digitally via the Qualtrics site and then downloaded into SPSS for analysis. Chapter four contains analysis of the data, including the use of T-tests and a oneway ANOVA. Chapter five contains a discussion of the data and implications for future studies. That is followed by recommendations for implementation of the findings.

34 27 CHAPTER TWO LITERATURE REVIEW Introduction Classical vocal pedagogy dates back to the Italian singing masters of the early 17 th century. This style is referred to as bel canto. It has been legitimized for the last four hundred years in opera and art song and is therefore considered high-art singing (Noone, 2008). As detailed in chapter one, the use of belt allowed roles to be written for musical theater performers that went beyond the typical casting of a soprano as the female lead. However, the related literature shows that many classical singers and teachers of the classical style feel that belting is basically yelling with the chest voice past normal frequency limits without any attention to the needs of register changes (Lebon, 1986; Ruhl, 1986; Schmidt, 1984; Reid, 1983; Rosewall, 1980; Bradley, 1979; Miller, 1977; Howell, 1978; Rogers, 1969). In addition to their concerns of vocal heath, many classical teachers simply dislike the brightness of the musical theater sound (Noone, 2008). The judgment of vocal correctness is made on the perception of the sound instead of the production of the sound. In an article written for the Journal of Singing, Edwin (2002) addressed this issue noting that what is considered beautiful singing is still judged by classical standards. He called for teachers of singing to coach singers in healthy and efficient singing based on artistic and technical demands, regardless of style. The main difference between the classical sound and the musical theater sound is intent. Classical training and performance focus on the beauty of the sound. Everything else, including story telling, is subordinate to the beauty of the music. In musical theater,

35 28 the importance is on story telling, which may not always match the bel canto definition of beautiful singing. In a book that examined the relationship of singer as actor, Kayes (2000) noted: Classical singers are trained to sing beautifully. Their instrument must be so well honed that, even when they are portraying angry or sad, the sound is still in the larger context of beautiful singing... Actors are working in a very different environment. Our musical theater writers are not writing classical music, so it doesn t make sense to sing this music classically...you need not always sound beautiful if you are singing musical theatre, and that doesn t mean you will be hurting your voice either (Kayes, 2000, p. xi). Due to the emphasis on text, the belt singer may not be able to engage the vocal practices such as vowel shape and open throat techniques used by classical singers to enhance the beauty of the sound. If the belt voice is perceived as too trained, it cannot serve the intended function (Schutte & Miller, 1993). LeBorgne (2001) explained that although all people essentially have the same anatomy, singers are able to alter the sound through manipulation of the larynx and configuration of the vocal tract. LeBorgne further commented that the definition of vocal beauty has changed through time and is often defined by the type of music being performed. Belting and the Adolescent Singer As stated in chapter one, one of the difficulties in dealing with belt is the lack of an industry wide adopted common definition or pedagogical practice. Ragsdale (2004)