This chapter, stemming from a paper presentation at the biannual Music on Stage Conference on 2013, addresses the implications of mono-disciplinary or discipline-bound approaches to the training of opera singers. The focus is on the example of Experience Vocal Dance Company, which serves as a point of departure towards problematising the contexts and critical frameworks that dictate predominant approaches to the pedagogy of bel canto.
|Title of host publication||Music on stage|
|Editors||Fiona Jane Schopf|
|Place of Publication||Newcastle|
|Publisher||Cambridge Scholars Publishing|
|Publication status||Published - 2015|