A small overview
Introduce the questions
- Where the conflict comes from
- my own position in it
- the desired result to find a way of guiding composers and singers wishing to work together
Spotting the problem
- having a small historical overview of their relationship during the centuries
- showing where this aesthetic difference comes from and where it is today
- mentioning a few famous composer and singer couples
Interviewing a singer with diverse background singing both classical and modern music:
- Does she use different technique to sing modern?
- How does she prepare? What special skills are needed to do modern music?
- How does she work with composers? How does she introduce her own voice?
Interviewing a composer, that worked with her:
- how he thinks of the voice, what is his own singing experience
- his background with vocal composing, studies and compositions
- his view on the aesthetic differences, why and how it derived from a linear connection
- His experiences with singers so far
Choosing a case study, where I was a singer of a vocally challenging modern piece:
- A major masterpiece where I was thrown in the deep end, and had to sing a 'mission impossible' tenor solo. Problems with range, tessitura, stamina, text, forbidden usage of vibrato, voice type fitting, etc., and what solutions might be found in my existing training.
Sharing two experiments in mediating between composers and signers (coaching and teaching):
- the Young Composers Meeting, where I was the vocal coach last year, and gave a lecture to the young composers about writing for the voice
- the course I gave to composers and singers in the Royal Conservatory, The Hague, where I supervised composers in writing for vocal ensemble, and coached singers who performed their pieces