Unexpected Song
An Honors Thesis
By
Amy Christina Rumschlag
Thesis Advisor
Alexandra Christina Kocoshis
Ball State University
Muncie, Indiana
April 30, 2003
Graduated: May 3, 2003
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Abstract
Unexpected Song evolved into a compilation of classical and musical theatre
repertoire that revolves around the stages of falling in and out of love. Selection of
material in terms of style, contrast, meaning, and difficulty was central to the project.
Research into musical theatre history in order to better represent most influential
composers and lyricists was also integrated into song selection. The project is meant to
showcase the vocal and theatrical training received over the last five years in a
challenging vehicle.
Acknowledgements
* There are not words written with enough meaning to express the gratitude and
respect I feel towards my advisor and vocal coach, Alexandra Kocoshis. Without your
wisdom, patience, and belief in me, I would still be an alto without the promise of a
career. Thank you.
* Thanks also go to Kate Jordan for her help with staging and acting coaching. I
may have sung the songs, but you taught me how to sell them.
* For performing in the recital with me: Melissa Blue, Kevin McDaniel, and Andy
Planck.
*Last but not least to my parents for providing me with the finances and
emotional support in my pursuit of this project and the career of which it is indicative.
Unexpected Song: Behind the Scenes
When I sat down to choose the pieces that were to be in my thesis recital, my goal
was to select a wide range of songs that would showcase the different qualities of my
voice. Now the majority of musical theatre performers have a certain style of songs that
they can sing where their voice sits comfortably. They have to remain within that range of
songs in order to utilize their voice properly. When I first arrived at Ball State University,
the Department of Theatre and Dance securely placed me as an alto, telling me that the
lower part of my voice was where this strong range lay. However, due to being bounced
from voice teacher to voice teacher over a period of three and a half years, I never landed
in that secure zone. However, I was given the opportunity to learn many different styles
as each teacher tried to determine what kind of a voice I had. As a result, I studied a wider
range of styles than the average musical theatre student and I learned to perform them all
well. In my fourth year, I had the good fortune to be placed with Alexandra Kocoshis
when my previous voice teacher resigned. It was Alex who discovered that the
department had placed me improperly as an alto, that I was in fact a coloratura. Finally, I
had found my niche that sat so well in my voice that I did not have to work very hard to
produce the sound demanded by the material. Even after Alex discovered the true nature
of my voice, I used the techniques that I learned from her training to break away from the
music theatre tradition of sticking to one style and attempting to improve in all styles.
This struggle to perfect multiple genres of singing was what I wanted to showcase in this
recital. I sought out the songs that I felt were polar opposites of each other in order to
demonstrate my ability to perform a variety of roles.
The first distinction within the material in my program is the break between the
first and second section. The first section of the program is completely classical music
that has nothing to do with musical theatre. There are five pieces, all in Italian, with two
being arias and the other three, art songs. I originally thought about using both Italian and
French songs, but I decided to stay with all Italian to keep some continuity in the first act.
The art songs were chosen to show three different styles and tempos. My opening
number, Bel piacere, is nothing more than a warm-up piece. The runs and easy nature of
the song helps to start the voice running and allow a light, up-tempo piece to settle the
audience into the Italian. The next two art songs were chosen because of the meaning of
the Italian. II mio bel loco, the first of the two, talks about loving someone against all
odds and it seems to be the classical complement to So in Love, from Kiss me Kate,
which is a selection in the musical theatre portion ofthe recital. Non posso disperar is a
lighter contrast and it was chosen due to the musical contrast between the A and B
sections of the song. The contrast is so dramatic that it demands intense control of the
voice and I wanted to show that aspect of my training. Arias that follow are two very
different styles. The first, Vedrai carino, is a heavier, middle-range song that showcases
the richness is my voice and the ability to raise the soft palette to allow for warm and
roundness in tone. The second, V'adoro Pupil/e, is the song that launched Beverly Sills'
career. Sills is the opera singer that I emulate in my singing and the movement in her
voice is one ofthe focal points in my training. This song has the traditional AlB section
with the a section repeated, however, what makes this song so difficult and interesting is
during the repetition of the A section, the song transforms into a coloratura piece,
contrasting the smooth, easy feel of the A section. This is indicative of the natural place
where my voice sits and is one ofthe most comfortable songs in my recital.
The songs in the second and third portions of the recital where chosen for very
different reasons and they are all musical theatre in nature. There are very different
sounds in musical theater ranging from a classical sound in a soprano to a lullaby alto
song to a belt, which is more nasal in nature. Even within those three categories, there are
a range of types of belts and alto songs and then of course character songs. I attempted to
show as much variety in the music theatre section as possible while maintaining the
'stages of love'. The second section is about falling in love and what love can make you
do. I start out with Unexpected Song, which is the title of the recital. I chose this song
because it exemplifies the feeling of falling in love and it is also a signature belt song,
that few people can sing due to the high range needed to belt the ending. Then I sing a
duet with Kevin McDaniel called Too Much in Love to Care, which is followed by So in
Love, both of which were chosen to express the part oflove when it is your whole world.
I wanted to produce the feeling that a person tends to give up everything for love, even
when it is not healthy for them. The next two songs were chosen to show crazy things that
happen to people who are in love, with Adelaide's Lament, which is also a character song,
and Someone to Watch Over Me, which is a traditional musical theatre piece.
The third portion is about loss of love and how it affects people. There are also
more contemporary pieces including a song from the newest composer, Jason Robert
Brown. I selected this piece, a duet from Songs for a New World, after meeting Mr.
Brown in New York and hearing his new musical. I wanted to exhibit the talents ofthe
young composer/lyricist who captures, better than anyone, the emotions and pain of
people in love. This is followed by I Hate Men and Tell me on a Sunday. I chose these
songs because the express two contrasting reactions to the ending of a relationship. I Hate
Men, also from Kiss me Kate, shows the anger, bitterness that women sometimes feel
after being used, and Tell me on a Sunday, from Song and Dance, shows the quiet
acceptance and hurt at the end of a truly wonderful relationship. Finally, I chose a duet,
sung with Melissa Blue, called Take me or Leave me, that shows off a new vocal quality
due to the rock nature of the song and also a new type of relationship since it a duet
between lesbian lovers. I also think that the song exemplifies the determination of a
person not to change to fit what someone else wants, the sense of being true to oneself,
which is a personal discovery which I have made during my college years. In closing, I
perform a song from Follies called One More Kiss, which I am using as a goodbye to my
friends and the closing chapter in my life as a student. It is also a Sondheim piece, which
is extremely rangy and difficult to perform with a seamless vocal quality. All of these
pieces merge together to create an unexpected blend of genres and roles that highlight my
unique talent.
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If
see your face.
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is
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cra-zy.
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when
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My heart could see
my dreams were in place.
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I thought I had
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in-to the fu-ture.
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way
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life was set,
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to
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too much in love
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mid - au.
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I'm fioat-ing
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all
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Sound ad-vice, great ad-vice,
You know we should call it a day.
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we are fools, well, we're
sbmaj7 sbEl
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we are fools, well, we're
If
care.
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can't con-trol
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to
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too much in love
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id - au.
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to
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a-way.
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We're fioat-ing in
,
let's throw it
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too much in
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love
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to
care.
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34
SO IN LOVE
Words and Music by
COLE PORTER
---
Moderato
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4
Adelaide's Lament
GUYS AND DOLLS
"'P~y."".,c;"
By FRANK lOESSER
Slowly
1\
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The
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fe- male
sin - gle
av-'rage un - mar-ried
fe- male re - main-ing
t:I
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ADELAIDE:
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long
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(Spoken): Note:
LIe.-
LI""
With
psy-cho-so - mat - ic
Chron-ic, or - gan - ic
symp - toms
syn- dromes
,
r
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a tempo
[,e.
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dif - fi - cult
tox - ic or
,I
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© 1950 (Renewed) FRANK MUSIC CORP,
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.
en to
hy - per -
5
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2nd time aeeel.
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In
In
1
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B~7
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tract.
throat.
res - pir - a - tor - y
ear, and the nose, and
the up - per
the eye, the
feet - ing
volv - ing
-
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3
}
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T
A
A
words._just from wait-ing a - round for that plain lit - tie band of gold
words._just from wor- ry-ing wheth-er the wed-ding is on or off
oth-er
oth-er
3
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per - son
per - son
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can
can
de - vel - op
de - vel - op
cold.
cough.
a
a
You
You
3
3
3
can
can
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spray her wher- ev - er you fig - ure the strep - to
feed her all day with the Vi - ta - min A and the
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3
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3
3
3
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give her a shot for what-ev - er she·s got but it
med - i-cine nev - er gets an - y - where near where the
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3
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cough.
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clerk, _
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per - son _ _ can de-vel-op a cold. Spoken: It says here
per - son _ _ can de-vel-op a
I
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If she's
If she's
3
tir - ed of get - ting the fish - eye
from the
get- ting a kind of a name for her - self and the
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work. __
is. _ _
.
cb
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fur - ther - more_ just from stall- ing and stall- ing And
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stall- ing the wed - ding trip,
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with sweet meditation
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When they get on the train for Ni-ag- 'ra and she can hear
-
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3
1"i*f . .
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can de-vel-op La grippe.
jj.
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tell.
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r- 3 ---,
per - son_
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3
ra - to - ga _ _
for
the
time,_
four - teenth
A
3
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son _ _
can
3
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suddelllyallgrY
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off
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the sneez - es
and
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a tempo
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Cm7
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3
3
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poco rit.
3
1.-....1
and
a
~
wheez - es
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IIjj.
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With the
sal drip
3
3
3
si - nus that's real - ly
a
lack of com-mu - ni - ty prop - er - ty _ _ and
From a
pip!
a
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a tempo
GID
G/D
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3
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feel - ing she's get - ting too old,
IIjj.
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bad
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I'd Give It All For You
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JASON ROBERT BRO'
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Words and Music by
COLE PORTER
-
Moderato
Solemnly
KATHERINE:
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the
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trav - 'lling
one
of
them,
sales - man, though
I'd
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Copyright C 1948 by Cole Porter
CODvriaht Renewed. Assianed to John F. Wharton, Trustee of the Cole Porter Musical and literary Property Trusts
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who'll have
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and
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