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dc.contributor.advisorRoennfeldt, Peter
dc.contributor.authorMcMahon, Paul G
dc.date.accessioned2018-01-23T02:47:28Z
dc.date.available2018-01-23T02:47:28Z
dc.date.issued2012
dc.identifier.doi10.25904/1912/138
dc.identifier.urihttp://hdl.handle.net/10072/366932
dc.description.abstractThis 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.
dc.languageEnglish
dc.publisherGriffith University
dc.publisher.placeBrisbane
dc.rights.copyrightThe author owns the copyright in this thesis, unless stated otherwise.
dc.subject.keywordsSolo tenor voice practitioners
dc.subject.keywordsGeorge Frideric Handel 1685-1759
dc.subject.keywordsMusic training
dc.subject.keywordsBaroque tenor performance
dc.titleBaroque Performance Practice Pedagogy and the Twenty-First Century Practitioner: The Tenor Repertoire of George Frideric Handel
dc.typeGriffith thesis
gro.facultyArts, Education and Law
gro.description.notepublicAppendix C has not been published here as it consists of transcripts of interviews. The 3rd party copyright has not been provided.
gro.rights.copyrightThe author owns the copyright in this thesis, unless stated otherwise.
gro.hasfulltextFull Text
dc.contributor.otheradvisorMassingham, Greg
dc.contributor.otheradvisorHalton, Rosalind
dc.rights.accessRightsPublic
gro.identifier.gurtIDgu1372903747627
gro.source.ADTshelfnoADT0
gro.source.GURTshelfnoGURT1438
gro.thesis.degreelevelThesis (PhD Doctorate)
gro.thesis.degreeprogramDoctor of Philosophy (PhD)
gro.departmentQueensland Conservatorium
gro.griffith.authorMcMahon, Paul


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