RESULTS: ALL THE WORLD’S A STAGE
Introduction
The following chapter will present the individual narratives of the study participants. To present the “resonant threads” (Clandinin et al., 2012) that ran throughout each of the singer’s interviews, the narratives are outlined in the traditional, five-act story-play structure: Exposition, Rising Action, Climax, Falling Action, Dénouement – a literary approach which allows for “low inference accounts that represent participant experience” (McAlpine, 2016, p. 36). As previously detailed in the Methodology chapter, these narratives are not portraits, as defined by Lightfoot-Lawrence (1997). Nevertheless, in the interest of providing a clear image of each singer, I have included a brief biographical sketch of each participant.
Editing, Presentation and Member Checking
As the singing world – as previously elaborated on – is small, I have chosen to remove as many potentially-identifying references, such as teacher and institution names and certain descriptions, in the interest of maintaining confidentiality. In certain cases, I have summarized experiences where the inclusion of direct quotes might compromise the singer’s anonymity. Any names used for the participants in these narratives are assigned pseudonyms.
While, as mentioned previously, most of the participants were unavailable to work closely with me as I developed these narratives, I was nevertheless able to
perform a certain amount of member checking, essential to accurate reporting in narrative research (Midgley et al., 2013). Throughout the narratives, there are certain instances where facts or opinions presented were clarified or expanded upon by the participants in private conversations (including direct conversations and text-based chat); this is particularly true of Liana’s narrative, where they graciously clarified many points and provided further information that allowed me to more appropriately represent their experiences.
In the interest of succinctness, quotes from transcripts have been lightly edited for clarity, as well as removing extraneous interjections. In certain cases, there were times when implied meaning – through tone, sarcasm, gesture or
reference to shared experience – would be missed by simply reporting the text as is, I have taken the liberty of editing to clarify and accurately represent the meaning of the interchange. In the interest of transparency, where it was practical or possible, the added words, edits or clarifications have been bracketed.
Cast of Characters
For ease of reference, included below is a reference table of the participants, their age and gender identity, as well as a brief assessment of their background and experience. In an attempt to present a multi-dimensional portrait of each performer, the “Representative repertoire” included in the table is a piece of music that the singer has performed which illustrates their voice type and musical preferences. These pieces were either musical selections that the individual mentioned as having
significance for them in their interviews or were pieces the singers chose themselves in response to my request for a representative musical clip. Table 2
Study participants.
Name Age Gender & Voice Details Alice 52 Cis-female,
soprano White (“describes self as WASP), from upper middle-class home in New Jersey. Attended a performing arts high school and studied music at college in NYC. She had early success as a musical theatre performer, but took a hiatus in her mid/late 20s. She is now singing again and runs her own voice studio in the NYC area.
Representative repertoire: “Tecum
principium,” from Dixit Dominus (G.F. Handel) Brooke 33 Cis-female.
soprano Taiwan-Chinese American, from middle class home in San Diego. Performed musicals in high school, but studied classical voice in college. Struggles with technique
consistently, but has made progress since coming to NYC. She currently performs but is unhappy with her career and its progress. Representative repertoire: “Zerfleisse, mein herze,” from St. John Passion (J.S. Bach) Cody 20 Trans-masculine
soprano, pre- transition
Jewish-American from an upper middle-class orthodox home in New Jersey, with a father who is hearing-impaired and a mother who is a successful theatre director. Cantoring and the practice of his Jewish faith are important to him. Currently finishing up undergrad degree in music at a private university in NYC, but unsure of future career path due to medical transition.
Representative repertoire: “Soul of a Man” from Kinky Boots (C. Lauper)
Drew 32 Genderfluid/non-
binary, mezzo White ethnic background, from working-class home in Texas, family actively religious and involved in church music-making. Struggled with depression and anxiety growing up,
Name Age Gender & Voice Details
exacerbated by gender identity & sexual orientation, as well as family issues. Studied classical voice in college and at major
American conservatory for graduate studies, but currently performs musical theatre and runs their own voice studio in NYC.
Representative repertoire: “Telephone Wire” from Fun Home (J. Tesori)
Kristina 39 Cis-female, mezzo
Born and raised in a rural Denmark on a farm, active in communal theatre and music- making through her teenage years. Studied musical theatre in Denmark, London and New York. Struggled with a voice injury after an illness, coming to NYC as part of her journey of recovery. Currently performs and teaches between NYC and Denmark.
Representative repertoire: “Aldonza” from Man of la Mancha (M. Leigh)
Liana 27 Non-binary.
soprano Black-creole from middle-class home in Texas, active in church music from a very young age. Attended a private catholic college in Texas for undergraduate music studies, followed by a major American conservatory for graduate work. Currently performing actively in Texas.
Representative repertoire: “Seguidilla” from 7 Canciones populares españolas (M. de Falla)
Alice Biography
Alice is a Caucasian, cis-female singer and voice teacher in her early 50’s, currently living in New Jersey – an early bloomer, musically, who took time off to rediscover herself and deal with her struggles with anxiety and overall well-being.
While her repertoire currently is primarily classical concert music, and she still actively sings, her professional focus prioritizes her teaching over her singing. Though teaching voice is a significant portion of her musical life at this time, she is nevertheless enjoying a newfound joy in performing as the result of the intense personal development she’s undertaken.1