![]() Key words: emotion, expressivity, sung voice, lyrics, systemic functional semiotics, music literacy education, popular music The framework will be illustrated through the analysis of the interaction between voice quality and lyrics in the song ‘Someone Like You’ performed by Adele. This framework provides a novel approach for discussing and teaching song analysis and performance. Drawing on systemic functional semiotics (van Leeuwen, 1999 Martin & White, 2005), this paper proposes a unified theoretical framework for examining how emotional meaning is co-constructed in the voice and lyrics in singing performance. However, common analyses of singing performance rarely focus exclusively on voice quality, and there is no systematic framework which considers how emotional meaning in lyrics interacts with emotional meaning in voice quality. Music learning has a significant impact on a number of student competencies, including enhancing students’ communicative abilities as they learn to manipulate, express and share sound in both voice qualities and lyrics (Wicks, 2015). Hence, in musical theater education, taste, taste-making, and taste-testing are part of systematic and formal pedagogics and students’ ongoing vocal training.Įngagement with songs through performance and analysis is a key component of music curricula world-wide. Accounting for situations where tastes are performed, tested, and negotiated, this article argues that tastes have a history but are brought into a negotiating presence, producing implications for the future in this case, tastes form vocal behaviors and vocal behaviors form tastes. This article argues that tastes are also part of cultural production: musicians, here musical theater performers, are to be seen as music lovers, performing tastes that stabilize or challenge established taste patterns in the form of styles, genres, or traditions. In the social sciences, taste is commonly regarded as a matter of cultural consumption. The study is designed using an action research approach, and the collected data-students’ reflection notes, the researcher’s field notes, and workshop recordings-are analyzed through Antoine Hennion’s theoretical framework of taste as a performance that acts, engages, transforms, and is felt, and which involves skills and sensitizing. This article explores taste processes within a group of musical theater students and their voice teacher, the latter also acting as researcher, while working with an aesthetically broad repertoire in a higher education setting in Norway.
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