Representations in Vocal Repertoire

Abstract

This paper seeks to understand representations in repertoire diversity found in audition selections for Carnegie Mellon University, the National Student Auditions hosted by the National Association of Teachers of Singing, the Wolf Trap Opera Company summer program auditions, and the Metropolitan Opera National Council auditions. Various forms of data collection and the ubiquitous use of social media have highlighted equity disparities in the treatment of minority groups. The singing community, like all music-makers, must reconcile past inequalities and adapt current practices based on inclusion rather than exclusion. Analysis of these selections is compared with demographic data from members of the National Association of Schools of Music and the U.S. Census Bureau. By amalgamating these various forms of evidence combined with interdisciplinary framing, this paper: 1) provides a framework of systematic issues facing minorities in vocal studies and performance; 2) develops a theoretical understanding of the musical canon; 3) evaluates the current content of the vocal musical canon; 4) displays representational disparities between canonic vocal works and the populations singing them, and; 5) highlights the need for change in current practice to remain equitable for future generations of singers. While systematic choices in repertoire selection may seem insignificant in the short term studies have shown that minority students viewing representations of themselves in positions of power have positive impacts on their growth and the likelihood of entering and studying in the field. Shifts in current practice are critically necessary for vocal studies to remain relevant and inclusive for future generations.