Running with pigs
- Authors: Bourne, Tracy
- Date: 2006
- Type: Text , Play
- Full Text:
- Description: Play -Writer, Producer, Performer of live performance -Running with pigs
- Description: 2003007023
And the world goes round
- Authors: Bourne, Tracy
- Date: 2006
- Type: Text , Play
- Full Text: false
- Description: Play held in Melbourne Directed by Tracy Bourne
My Buninyong home
- Authors: Bourne, Tracy
- Date: 2004
- Type: Text , Play
- Full Text: false
- Description: Play performed at Ballarat. Writer, Producer, Performer -
Intimate spectacular : Telling the truth in music theatre
- Authors: Bourne, Tracy
- Date: 2007
- Type: Text , Conference paper
- Relation: ASDA, Melbourne 2007
- Full Text: false
- Description: Music theatre is a form struggling for definition. A musician will tell you that music theatre is new opera,while an actor will tell you that music theatre is a musical. Good music theatre should be both musically and theatrically satisfying. It should broaden the boundaries of performance and take a work beyond the limitations of one form into a more complete and expressive experience. Myth and metaphor are well suited to music theatre form, but the small story can work well too. This paper will use the process of writing and performing a ‘true story’ to argue for the relevance of music theatre in dealing with the emotional content of smaller works. ‘Running with pigs …’1 was written as a response to my own experience of pregnancy, birth and stillbirth. Music theatre form allowed us to engage with the personal nature of the material with humour and with sadness, and gave us the flexibility to enter the surreal, inner world of pregnancy and grief. In this performance, music theatre was not an escape from real life, but a way of giving space and structure to real feelings within the story.
Get Ready Get Set... Flow in sport as a model for enhancing vocal peformance
- Authors: Bourne, Tracy
- Date: 2006
- Type: Text , Conference paper
- Relation: Australian National Association for Teaching,
- Full Text: false
Music theatre voice: Production, physiology and pedagogy
- Authors: Bourne, Tracy , Garnier, Maeva , Kenny, Diana
- Date: 2011
- Type: Text , Book chapter
- Relation: Perspectives on teaching singing p. 170-182
- Full Text: false
- Reviewed:
Physiological and Acoustic Characteristics of the Female Music Theatre Voice 'belt' and 'legit' qualities
- Authors: Bourne, Tracy , Garnier, Maeva
- Date: 2010
- Type: Text , Conference paper
- Relation: Proceedings of the International Symposium on Music Acoustics (Associated Meeting of the International Congress on Acoustics)
- Full Text: false
- Reviewed:
- Description: A study was conducted on six female Music Theatre singers. Audio and Electroglottographic (EGG) signals were recorded simultaneously with the vocal tract impedance while the singers produced sustained pitches on two different qualities (‘chesty belt’, ‘legit’). For each quality, two vowels (/!/, /o/) were investigated, at four increasing pitches over the F#4-D5 range (~370-600 Hz). Measured values of glottal parameters (Open Quotient, Amplitude of the EGG signal) support the idea that ‘chesty belt’ is produced in the first laryngeal mechanism (M1) and ‘legit’ in the second one (M2). The frequency of the first vocal tract resonance (R1) was found to be systematically higher in ‘chesty belt’, close to the second voice harmonic (2f0). These observations were consistent with greater intensities and energy above 1 kHz in ‘chesty belt’ compared to ‘legit’.
Physiological and acoustic characteristics of the male music theatre voice
- Authors: Bourne, Tracy , Garnier, Maeva , Samson, Adeline
- Date: 2016
- Type: Text , Journal article
- Relation: Journal of the Acoustical Society of America Vol. 140, no. 1 (2016), p. 610-621
- Full Text:
- Reviewed:
- Description: Six male music theatre singers were recorded in three different voice qualities: legit and two types of belt ("chesty" and "twangy"), on two vowels ([e] and [O]), at four increasing pitches in the upper limit of each singer's belt range (similar to 250-440 Hz). The audio signal, the electroglottographic (EGG) signal, and the vocal tract impedance were all measured simultaneously. Voice samples were analyzed and then evaluated perceptually by 16 expert listeners. The three qualities were produced with significant differences at the physiological, acoustical, and perceptual levels: Singers produced belt qualities with a higher EGG contact quotient (CQ(EGG)) and greater contacting speed quotient (Qcs), greater sound pressure level (SPL), and energy above 1 kHz (alpha ratio), and with higher frequencies of the first two vocal tract resonances (f(R1), f(R2)), especially in the upper pitch range when compared to legit. Singers produced the chesty belt quality with higher CQ(EGG), Qcs, and SPL values and lower alpha ratios over the whole belt range, and with higher f(R1) at the higher pitch range when compared to twangy belt. Consistent tuning of f(R1) to the second voice harmonic (2f(0)) was observed in all three qualities and for both vowels. Expert listeners tended to identify all qualities based on the same acoustical and physiological variations as those observed in the singers' intended qualities. (C) 2016 Acoustical Society of America.
Illuminated by fire
- Authors: Bourne, Tracy
- Date: 2010
- Type: Text , Audiovisual material
- Full Text: false
- Description: Under the direction of Tracy Bourne, indigenous storytellers led the audience on a journey along the edge of Lake Wendouree, culminating in a fire ceremony performed by local indigenous youth and accompanied by the incredible vocals of the Fire Choir. Involving local community groups, school choirs, youth groups and other artists, the piece recalls our ancient and recent fire histories, and imagines our future in this place. The project launched Saturday October 23 at 8.00pm at the Indigenous playground, Lake Wendouree Ballarat. Examined our historic and cultural relationship to land, water and fire, culminating in a fire ceremony performed by local indigenous youth and the Fire Choir
Physiological and acoustic characteristics of the female music theater voice
- Authors: Garnier, Maeva , Bourne, Tracy
- Date: 2012
- Type: Text , Journal article
- Relation: Journal of the Acoustical Society of America Vol. 131, no. 2 (2012), p. 1586-1594
- Full Text:
- Reviewed:
- Description: Three Music Theater vocal qualities (“chesty belt,” “twangy belt,” and “legit”) were investigated in female singers at their overlap range, between F#4-D5 (∼370-600 Hz). Six experienced Music Theater singers performed each quality on two different vowels ([e], [ɔ]). Audio and electroglottographic (EGG) signals were recorded as well as the vocal tract impedance. In chesty belt and twangy belt, singers systematically tuned the frequency of their first vocal tractresonance (R1) to the second harmonic (2f0 ) up to C5. R1 remained lower in frequency for the legit quality. No tuning of the second vocal tractresonance (R2) was observed in any of these qualities although R2 frequency was significantly higher in both belt qualities than in legit. Closed quotient, degree of symmetry of the EGG waveform, sound pressure level (SPL) and the energy of the spectrum above 1 kHz were significantly greater in chesty belt than in legit but not significantly different between chesty belt and twangy belt qualities. A fourth quality (“mix”) was explored in three singers. Different production strategies were observed for each singer, with values of spectral, glottal and vocal tract descriptors found in between those measured for legit and chesty belt qualities.