MAPACA

Mid-Atlantic Popular &
American Culture Association

Leaving the formal assessment structure of higher education and entering the private arena has opened my eyes to a new world of karaoke singers, car and shower belters, and church choir stars. Professors are expected to adhere to strict repertoire guidelines and must judge each student’s development by semester, and not at their individual pace. In a community music setting, however, teachers whose training varies from doctoral degrees to touring rock bands come together to share a love of singing with the public. There is a freedom in this environment that both students and instructors can enjoy. Free from the repertoire constraints of a degree program, I found that the variety of styles, genres, textures, and themes represented in music theatre repertoire offers students fun and challenging ways to explore facets of their vocal production and individual style.

Of course, I can’t make the same practice demands of my adult students as I can with those preparing for careers in music. The average adult avocational student has little free time to schedule dedicated practice. Most have no access to a keyboard, and can’t read music. They sing for personal fulfillment, not for employment. Without proper practice facilities, and busy with work, children, and chores, how do adults add a productive practice routine? How can community music teachers of adult singers guide their students to their goals while being mindful and supportive of these challenges?

From a 50-year-old Portuguese mother of three who wants to improve her English skills to a 26-year-old graduate student who has just discovered music, this presentation will incorporate informal case studies from my private voice studio that highlight creative uses of music theatre repertoire to help these dedicated, but over-scheduled adults set and achieve their vocal goals.