Developing performance and pedagogy practices in a jazz context for the musical theater vocalist through the Great American Songbook

Abstract

The purpose of this scholarly essay is to explore the differences between the selected Great American Songbook compositions performed in the original context of the Broadway show and in a jazz context by prominent performers both past and present through a comparative analysis of the vocal devices and styles used while in performance and will provide informational materials for the musical theater vocalist and vocal teacher who want to develop a jazz voice context through literature and composers they are already familiar with in their studios. Samples to be studied include music by jazz artists Sarah Vaughan, Ella Fitzgerald, Karrin Allyson, Nancy Wilson, Rene Marie, and Jane Monheit and comparing their adaptations to either the original or revival Broadway cast recordings. The current trend in musical theater is to utilize a more jazz or commercial sound in vocal production, while American opera houses and young artists programs are performing repertoire that strays away from the traditional repertoire by adding Golden Age Musical Theater and contemporary musical works to their seasons. This scholarly essay will discuss and define important terminology needed in understanding jazz and musical theater vocal practice and pedagogy. It will break down performance practices of jazz and musical theater voice using selected compositions from the Great American Songbook through information and exercises. A comparative analysis of the previously mentioned vocalists will be discussed with regard to voice, articulation, breath, diction, phrasing, the use of amplification, key signature selection, and devices.