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  • Baroque Performance Practice Pedagogy and the Twenty-First Century Practitioner: The Tenor Repertoire of George Frideric Handel

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    McMahon_2012_02Thesis.pdf (3.714Mb)
    Author(s)
    McMahon, Paul
    Primary Supervisor
    Roennfeldt, Peter
    Other Supervisors
    Massingham, Greg
    Halton, Rosalind
    Year published
    2012
    Metadata
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    Abstract
    This dissertation investigates the experiential processes in music training and performance techniques of solo tenor voice practitioners. It is informed by teaching methodologies in baroque performance practice within higher education and links theoretical phases of the research with functional aspects of music making. The dissertation also examines applied performance practice in music for the solo tenor voice by a pivotal composer of the baroque period, George Frideric Handel (1685–1759). Solo vocal literature of the baroque period forms a core component of studies in conservatoires and universities. However, empirical ...
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    This dissertation investigates the experiential processes in music training and performance techniques of solo tenor voice practitioners. It is informed by teaching methodologies in baroque performance practice within higher education and links theoretical phases of the research with functional aspects of music making. The dissertation also examines applied performance practice in music for the solo tenor voice by a pivotal composer of the baroque period, George Frideric Handel (1685–1759). Solo vocal literature of the baroque period forms a core component of studies in conservatoires and universities. However, empirical data compiled in this research indicates that emerging performers frequently experience only limited formal instruction that combines theoretical and practical aspects of baroque performance practice. Furthermore, most vocal teachers’ exclusive focus upon their students’ technical development often prevails to the detriment of interpretive considerations. Students therefore may commonly develop little capacity to balance the development of their personal vocal technique with the declamatory practices and theoretical awareness required in the professional performance of baroque music. Practitioners suggest such experiences articulate a pervasive ‘on the job’ training scenario in terms of baroque performance practice. This enquiry incorporates a multi-faceted qualitative research framework. Informed by documented literature cited within the investigation, the methodologies used include semi-structured interviews, case studies and reflexivity.
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    Thesis Type
    Thesis (PhD Doctorate)
    Degree Program
    Doctor of Philosophy (PhD)
    School
    Queensland Conservatorium
    DOI
    https://doi.org/10.25904/1912/138
    Copyright Statement
    The author owns the copyright in this thesis, unless stated otherwise.
    Item Access Status
    Public
    Note
    Appendix C has not been published here as it consists of transcripts of interviews. The 3rd party copyright has not been provided.
    Subject
    Solo tenor voice practitioners
    George Frideric Handel 1685-1759
    Music training
    Baroque tenor performance
    Publication URI
    http://hdl.handle.net/10072/366932
    Collection
    • Theses - Higher Degree by Research

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