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© Dr Daniel K. Robinson - 2011Page
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PassionateSinging
By Dr Daniel K. Robinson
(2011)
It was during the early summer of 1994 that a young singer stood before apanel of three singing teachers; seeking permission to move from his currentclassical vocal course to a contemporary style degree. Having been identified asa bright prospect for the melismatic challenges of Baroque music the panel werenot keen to allow the budding student to transition to his favoured contemporarygenres. The robust discussion flowed back and forth for a seemingly timelesstwenty minutes, with the panel refuting the young tenor’s requests andarguments. As a final point of presentation, while watching his dreams of contemporary voice instruction fade away, the now desperate young singercommented,
While I have been at this institution I have been taught that singing is about communication; and that I need to connect with the repertoire in order to connect with the audience. I don’t connect with classical music but I do connect withcontemporary styled repertoire. If I am to ultimately succeed at this institution I would ask the panel to place me in the course that gives me the best opportunity to connect with my audience through the repertoire.
The panel, having heard the student’s presentation for transition, dismissed himto confer amongst themselves. After an agonising amount of time (probably onlyfifteen minutes or so) the panel invited the student back into the meeting andgranted him his request to move to the contemporary course stating that hisclosing comment (as stated above) had been a key consideration in theirdecision.The young singer in the story is yours truly.Now, as a singing teacher, I am often asked by new students (both amateur andprofessional), “What genre should I sing?” Having read my story above, youdon’t get any points for guessing what my response is. Anecdotally I haveobserved during 15 years of teaching voice that you connect with, and byimplication, perform best the repertoire that you are most passionate about.The next chapter to my personal story was, having transitioned into thecontemporary vocal course, I found myself singing a staple diet of jazzstandards such as ‘How High the Moon’ and ‘You Go to My Head’. I was far morecontent singing jazz repertoire than Baroque, however with time I learnt thatwhat I am most passionate about (and what my audiences connect with most) isthe niche style of ‘Classic Contemporary’; otherwise known as ‘crossover’.I have often reflected on that crucial turning point in my development as asinger. The consideration of ‘what if’ is a relatively fruitless contemplation for me
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