Honors Theses
Advisor
Andrea Chenoweth-Wells
Department
Music
Publication Date
5-1-2021
Document Type
Honors Thesis
Abstract
For many years, women in opera have been in service to their plots. They have always been present but have either been relegated to passive roles in their own stories or actively considered societal outcasts. They were dramatically stereotyped as either airheads or witches, mothers or daughters, love interests or foes to be conquered. And, along with the character stereotypes came typically associated vocal stereotypes. Lighter and higher voices were assigned to roles that portrayed virtue, innocence, and other general characteristics of the “feminine ideal.” Conversely, lower voices were assigned to sinful, outcast, “fallen women.” These vocal stereotypes are especially prevalent for the women condemned to the fringes of society, the othered “them” in contrast to the idealized “us.” Examination of opera plots in contrast to historical documents and artifacts through time reveals an important movement towards more accurate dramatic and musical characterization of women in American opera.
Permission Statement
This item is protected by copyright law (Title 17, U.S. Code) and may only be used for noncommercial, educational, and scholarly purposes.
Keywords
Undergraduate research
Disciplines
Music | Musicology | Music Therapy
eCommons Citation
Berryman, Mariah J., "From Prop to Partner: The Evolution of Female Roles in American Opera" (2021). Honors Theses. 308.
https://ecommons.udayton.edu/uhp_theses/308
