Author ORCID Identifier

https://orcid.org/0009-0008-5632-0464

Semester

Fall

Date of Graduation

2025

Document Type

Thesis

Degree Type

MA

College

College of Creative Arts

Department

School of Music

Committee Chair

Katelyn E. Best

Committee Co-Chair

Michael B. Vercelli

Committee Member

Jake Sandridge

Abstract

Within Western art music, voices are typically classified using the Fach system, which is based upon vocal characteristics and separates singers into the categories of soprano, mezzo soprano, contralto, counter tenor, tenor, bass, and baritone. Over time, these categories have become embedded with social and cultural meaning within the operatic world, leading to the development of stereotypes and expectations surrounding singers, as well as social categories and identities, referred to in this study as “sociocultural vocal categories” and “sociocultural vocal identity,” respectively. Currently, there are limited explorations of the sociocultural vocal categories and their associated stereotypes, with research on singer identity focusing primarily on intersections between opera, voice, and gender. Using surveys, freelisting, and semi-structured interviews, this interdisciplinary study examines the stereotypes held by members of the operatic community, as well as the ways in which these stereotypes impact singers both socially and individually. These sociocultural vocal categories and their associated stereotypes are taught within the operatic community, allowing for their continual reiteration and perpetuation, and leading to the perception that they are a natural component of being an opera singer, as opposed to a cultural construction.

Download

Share

COinS