This paper explores the representations of suicide among three titular heroines in Giacomo Puccini’s operas: Tosca, Suor Angelica, and Cio-Cio-San. As women in highly rigid patriarchal societies, these characters are relegated to lives dictated by oppressive outside forces of anti-feminine culture. I argue that the suicides of these characters are not a representation of intrinsic weakness but are an exhibition of independence and agency to control their own fates. This research combines the specific disciplines of suicidology, feminism, opera criticism and the soprano voice. While there are plentiful resources covering Puccini’s biographical information and theoretical analyses of each opera, this paper fills an existing gap in its performance-centered research approach. Interviews with celebrated interpreters of these heroines present a personal perspective behind the vocal, physical, and emotional demands of performing these roles. A detailed look at the words of the libretti and letters from Puccini himself provide insight into his desire to infuse these characters with strength and intelligence. The significance behind the composer’s preference for large, powerful voices known as the lirico-spinto soprano is also explored. The operatic suicides of Tosca, Suor Angelica, and Cio-Cio-San each exhibit autonomy and strength, debunking the stereotype of the “tragic soprano.” A holistic and detailed survey of these heroines reveals that their suicides transform them into women who are no longer passive—the acted upon become the actor.

Everyone deserves the chance to explore their voice as an expression of individuality and musical fulfillment. There are many considerations for modern voice teachers who desire to create accessible and inclusive paths to vocal study. Inspired by interactions with prospective and beginning voice students in both individual and group class settings, this document examines several of the interests and perceptions that have been most frequently expressed by singers in my studio and classrooms. The application of both student-centered and community-centered approaches within varied learning environments may better meet the needs of diverse groups of singers and welcome more amateur musicians and community music makers as prospective voice students. Confronting and addressing potentially discouraging perceptions may empower more singers to pursue vocal study. Such perceptions include feelings of unworthiness, exposure to standards of unattainable perfection promoted by the use of voice-altering technology, and lack of perceived talent. With these considerations in mind, this study aims to facilitate the creation of a concise basic resource that will benefit the self-guided singer as well as voice teachers who work in individual and classroom settings. This document includes discussions on singing as an aspect of individual identity and community, various pedagogical models of singing instruction, and the impact of technology on the understanding of vocal function. A literature review examines the relevance and effectiveness of the resource material that is frequently used to guide beginning singers. Included are the survey results of “Individual Singer and Teacher Perspectives of Vocal Study,” which gathered perspectives on various topics, such as the use of beginner resource texts, singers’ feelings on talent and worthiness, the use of gender-inclusive techniques in the vocal studio, and the incorporation of somatic practices to vocal study. When provided with a variety of resources, voice teachers can be effective and nurturing guides on every singer’s path to vocal discovery and artistic musical expression. The ultimate goal of this study is to incorporate relevant research on pedagogical techniques and philosophies and the survey results into the design of such a resource—an inclusive and accessible eBook.

Dr. SoonAe Kim was one of the first Korean female composers to contribute substantial works for kagok, or the Korean art song. In 1920, the year she was born, Korean society was undergoing critical changes throughout the nation as a result of wars, colonization, and political upheaval. Due to these circumstances, Dr. Kim had to deal with multiple unexpected events like most Korean people had during the period. The experiences she faced tremendously influenced her musical identity and composition. This paper will examine three significant factors, such as Christianity, the Korean War, and kagok (Korean Art Song), that affected Dr. Kim’s professional musical identity and composition. Christianity helped her to affirm her independent and brave identity as a female composer and Christian hymn gave numerous inspiration to her music. The Korean War gave her the strength and ability to overcome extreme hardship. It also gave her deep empathy for Korean people and their experiences, which affected the atmosphere in her music. Lastly, kagok, the art form for which she received her greatest enthusiasm, became her main power for encouraging Korean people’s spirits to recover a peaceful and stable life. SoonAe Kim dealt with her despairs bravely throughout her entire life and successfully overcame them with her music and became an irreplaceable figure in Korean Western-music history. I heartily believe it is essential to study her musical identity and unique compositional style, especially in kagok, to appreciate SoonAe Kim’s importance as a significant female musician. This document will also serve as a performance guide for non-Korean singers and musicians who want to perform Korean art songs yet are hindered by the language and cultural barrier. This performance guide includes the International Phonetic Alphabet for the Korean language, companion pronunciation recordings, and a brief musical analysis. The performance guide will encourage better access and performances of Korean art songs by foreign artists and singers who are not familiar with the Korean language and bring kagok and SoonAe Kim into the universal art song canon.