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Musical theatre’s omnivorous voice: Interviews with elite voice teachers in the Broadway community
16 references·0 citing·47 second hop
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References

  • 2019Reflecting on reflexive thematic analysis21,320 cited
  • 2020One size fits all? What counts as quality practice in (reflexive) thematic analysis?10,782 cited
  • 1996Changing Highbrow Taste: From Snob to Omnivore2,443 cited
  • 1992Understanding audience segmentation: From elite and mass to omnivore and univore1,183 cited
  • 2007Those Things That Hold Us Together: Taste and Sociology560 cited
  • 2001Social Differentiation in Musical Taste Patterns404 cited
  • 2007Understanding Cultural Omnivorousness: Or, the Myth of the Cultural Omnivore347 cited
  • 2008Modes of openness to cultural diversity: Humanist, populist, practical, and indifferent259 cited
  • 2015The instability of omnivorous cultural taste over time63 cited
  • 2014Trends in Musical Theatre Voice: An Analysis of Audition Requirements for Singers33 cited
  • 2019Divided by a Common Language20 cited
  • 2020The Black Broadway voice: calls and responses16 cited
  • 2014A Brief Overview of Approaches to Teaching the Music Theatre Song9 cited
  • 2022We are also music lovers: Testing vocal tastes in higher musical theater education7 cited
  • 2021Exploring Original Cast Recordings as “Vocal Scripts”: Navigating “Vocal Omnivorousness” and Learning “The Sungs” of Musical Theatre

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7 cited
  • 2022Exploring musical theatre performance synergy: Accessing seven performative processes6 cited
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