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Greschner, Debra

doi:10.53830/gmlj4368

Cited by 1 publication

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“…Consequently, both formal and informal voice training may bring out, or dampen, certain parts of our voices' almost infinite aesthetic potentialities. Building a well-equipped, broad technical and aesthetic toolbox, in other words, cross-training the voice (Greschner, 2019), may foster creativity and expand artistic expression, and thus strengthen a singer's uniqueness and perceived artistic quality, and hence the status, in form of the skill to express, perform and, importantly, to change between broad, diverse, subtle and complex musical meanings, styles and idioms. However, the notion of the omnivorous voice might consequently exchange a commonly expressed quest for authenticity within the American musical (LoVetri et al, 2014) into a quest for believability.…”

Section: Performing the Omnivorous Voicementioning

confidence: 99%

Voicing Omnivorousness, Assembling the Omnivorous Voice: The American Musical Explored

Germeten¹,

Karlsen

2022

Cultural Sociology

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This article focuses on the notion of cultural omnivorousness, as coined by Richard Peterson, to explore its various manifestations within the American musical, commonly known as the Broadway musical. Through two interconnected research questions, we explore how patterns of cultural omnivorousness are manifested within the American musical, contemporarily and in a historical perspective, and scrutinize what these omnivorous features demand from performers, more specifically, what it takes to perform what we name the omnivorous voice. Using the American musical as a site for exploration, the article aims to show that the omnivorousness is not only enjoyed by its audiences, but produced, brought about and enjoyed by its composers, producers and performers alike. Consequently, the article’s main argument is that the phenomenon of cultural omnivorousness not only concerns cultural consumption but is to be regarded as a matter of cultural production as well, manifested ultimately as specific artistic and embodied practices. The article conveys a theoretically informed discussion, drawing on works written within the fields of cultural sociology, musicology and voice studies, while incorporating illustrative references to specific recorded musical works and the vocal behaviours of named performers.

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Section: Performing the Omnivorous Voicementioning

confidence: 99%