Diversity in the Voice Studio: Exploring “Diverse” American Art Song
Rebecca Kidnie, Angela Nieman, Emily Worzalla, and Dr. Mitra Sadeghpour
Department of Music and Theatre Arts • University of Wisconsin-Eau Claire
Abstract
The vocal literature used in undergraduate voice study at
American institutions is largely comprised of songs by composers
of the Western European canon; inclusion of American music
has only recently become more prevalent. We hypothesized that
more American music is available than is being utilized,
especially art songs by composers of diverse backgrounds, and
that studying art songs by these composers could expand a
student’s concept of diversity. Our goal was to create a source
to aid in choosing and locating art songs that would increase
students’ knowledge of diversity.
Initially, we found it necessary to define “art song,”
“American,” and “diversity” in order to select music to include in
the source of 50 songs by diverse American composers. In
October of 2009 we presented a lecture recital that included
performances of thirteen songs from our repertoire source and
material from our research. Next, we worked with the voice
studio teachers from UWEC to assign these songs to students.
Last, we administered a survey in order to assess the influence
this has on the student’s knowledge of diversity. We also
conducted interviews, analyzed responses, and completed the
song guide. We anticipate that study of these songs will
positively influence UWEC students’ concepts of diversity and
that with the distribution of the repertoire guide this influence
could be duplicated at other undergraduate institutions.
Research Process
Wallach, Joelle (b. 1946)
Sargon, Simon (b. 1938)
Song:“Epistolary” (from Daughters of Silence:
eight songs about experiences of women, 1991)
Song: “Loveliest of Trees” (from Loveliest of
Trees: Six Songs Set to Poems of A.E.
Houseman)
Text: Personal Classified ad from New York
Review of Books
Text: A. E. Houseman
Voice: Soprano and piano
Voice: Tenor (High voice) and piano
Range: D4-A5
1. Has diversity been a part of your life in a large way?
2. What song by a diverse American composer did you learn this
3. What was your method and extent of research put into this
piece?
Range: C4-A5
Description: The fifth song in the cycle,
“Epistolary” is a lyrical, tonal (dm) setting of a
woman’s personal ad in which she touchingly
describes what she doesn’t want in a man. The
tessitura is A4-C5 and both the flowing and
occasionally chromatic piano and voice parts
are accessible to intermediate undergraduate
singers. 2’00”
Sample Student Interview Questions
semester?
Description: The text is a well known poem set
by other composers and this setting can hold its
own against the others. This piece is lyrical and
flowing. The piano starts with rolled chords and
then moves to arpeggiated chords and widely
spaced triplets. This piece is good for
intermediate singers. Most of the song sits
below the passaggio with multiple excursions at
dramatic points above the staff. 2’30”
Publisher: Classical Vocal Reprints
Publisher: Classical Vocal Reprints
4. When learning this piece did any topics of diversity arise
between you and your professor or with other students?
Results
 All students indirectly discussed issues of
diversity with teachers and peers
 The students found the pieces challenging,
but rewarding
 The students enjoyed the “diverse” music
The students all noted that their ideas of
diversity were challenged and expanded
through the learning process
Sample Student Survey Questions
Research Application in Performance
1. What is diversity?
2. How important is diversity in your opinion?
Stage 1
3. How often is diversity addressed in your music classes?
Definition of key terms- Art Song, American, and Diversity
 Literature review of diversity in higher education
 Collection of art songs by diverse American composers determined by:
 Sexual orientation
 Religion
 Ethnicity
•All composers self identified as their diversity
category
 Annotated bibliography
Creation of guide to be used as a reference for singers and teachers in
obtaining music from diverse American composers
 Four research papers on the topics of:
 The American Sound
 What’s “Diversity” and Do We Need it in the Voice
Studio?
 What is Art Song and Diversity
 The Sound of Diversity
 Lecture Recital of our findings and presentation of “diverse” songs
4. What is your normal approach to learning a song?
5. Did you sing a song this semester that you considered diverse?
6. Do you feel more or less connected to this song than your
other repertoire?
Conclusion
Stage 2
Distribution of songs to students in the voice studio
 All of the students of Dr. Mitra Sadeghpour, Dr. Jessica
Riley, Dr. Mark Mowry, and Dr. Daniel Newman were given
songs from the repertoire guide
 The voice teachers were instructed to treat these songs
the same as all other repertoire
 Creation and administration of student survey
 Data collection in progress
 Four individual case studies of students
 One student from each of the four voice studios was
interviewed
 Survey of voice teachers
 Data collection in progress
 Final completion of repertoire guide that includes over 50 songs
Assessment
Examples From the Repertoire Guide
Florence Price, composer of
“Song to the Dark Virgin”
Examples of diverse American song literature
Hugo Weisgall, composer of
“My Lover Called”
We have found that there is a great benefit to teaching and
learning repertoire of diverse American composers, though the
project is still in the final stages of data collection and
assessment. In addition to being introduced to new composers,
these songs can provide an outlet for students to explore social,
political, personal, and educational diversity in their own lives
without directly addressing the topic of diversity. In learning
these pieces students can learn more about their social, political,
personal, and educational environments. Not only are these
songs beneficial in crossing ethnic, religious, and lifestyle
barriers, but they have great value as teaching tools for exploring
new techniques in singing and contemporary musical styles. A
sophomore music major said, “when you do a piece by an
uncommon composer, especially of a different ethnic
background, the music is just different.” Good music is good
music. All of the composers that have been included in the guide
have music accessible to young singers and they deserve to have
their music studied and performed. The repertoire guide makes
this music more accessible for students and teachers and
increases awareness of issues of diversity through study in the
voice studio.
Questions?
Contact us at msadegh@uwec.edu
Research project and poster printing funded by the University of Wisconsin-Eau Claire Faculty/Student Collaboration Differential Tuition Grants Program