Shining a light: Interpreting vocal works through collaboration in the recording studio

This study challenges the assumptions of professional collaboration in a musical landscape, by investigating the holistic mindset of collaborative practice. It explores concepts of participant roles, hierarchy, open communication, professional trust, and the impact of COVID-19 on the creative environment, having taken place during Australia’s lock-down in 2020. 

The research question guiding this study is: What interpretive processes are used by a singer and a pianist when collaborating to record a musical composition? Using practice-led research, this thesis is in two parts: the creation of an artefact, an audio recording of the Ten Songs for Soprano and Piano, a collection of solo vocal works for classical soprano and piano by the late Australian composer, Martin Wesley-Smith; and its accompanying exegesis. Viewed through the lens of participant-observer throughout the project, the researcher is firmly embedded within the study, by singing in the artefact recording, and, in the post-production process, analysing the collected data for commonalities. 

Drawing on literature exploring interpretive processes within creative practice, collaborative practice, and Australian art song, an epistemological worldview has been adopted, based on the researcher’s own perception and experiences as a professional singer. 

Using qualitative analysis, the discussions of the practitioners and personal reflections of the researcher throughout the preparation and the execution of the artefact were recorded, transcribed, and investigated, using coding to answer the research question. Three primary themes emerged: Recording considerations and impact; Collaboration; and Interpretation of the pieces. 

This study reveals a gap in current literature around Australian art song, musical interpretation from the perspective of a singer, and collaboration between the voice and piano. This research begins to address some of these omissions.