The use of extended vocal techniques (non traditional methods of vocal production) is rather pervasive in post-1900 art music. Composers commonly associated with extended vocal techniques include Arnold Schoenberg, Alban Berg, George Crumb, John Cage, Georges Aperghis, and many contemporary living composers. Though the demands on singers have become increasingly diverse and challenging, literature and pedagogical resources are somewhat scarce. In my paper, I will discuss some of the most commonly required extended vocal techniques, such as ingressive phonation, sprechstimme, yelling, and vocal fry (and even combinations such as ingressive vocal fry). I will discuss their artistic uses, including how and why composers utilize these techniques, as well as the differences between traditional classical vocal technique and extended vocal techniques. I will also discuss physiological challenges facing singers who perform this repertoire (dehydration, increased vocal fatigue, etc.) and offer solutions where applicable.
This is an important topic for singers who wish to perform contemporary art music. The body of music utilizing extended vocal techniques is considerable and important to our field, but the available resources and information are inconsistent and difficult to find. As a teacher and a singer who has performed this music professionally, this topic is not only fascinating to me—it is an increasingly necessary area of conversation and study for anyone who regularly works with singers.
