Evolution of “Tenor” and “Baritone” Voice Classification in Musical Theater: A Tessitura Analysis From Original Productions to Contemporary Revivals

Abstract

Musical theater practitioners and educators have long been discussing the migration and expansion of tessituras, particularly for “male” roles from the Golden Age to now. Vocal pedagogues and researchers have applied analysis methods to quantify tessitura and understand vocal demand and voice classification. A voice type is crucial to singers’ identity formation and repertoire selection. As the data suggests, the parameters of what a singer may be asked to sing have changed over time. In that case, the understanding and classification methods should reflect the diversity of repertoire, style, function, and gender experience. This study synthesizes the conversations, knowledge, and methods from these two adjacent fields into a musical theater vocal pedagogy thesis on voice classification through tessitura analysis of original and revival productions of Broadway musicals (originals from 1943-1998, revivals from 2013-2023). These revivals showed an 11% increase in the number of vibrations and a 9% increase in pitch from their original cast albums. This numerical data is in support of stylistic and observed changes. For students to be as prepared and flexible in their voices and material as possible, teachers should give students a wider understanding of voice than a fach box, based on the study and its supporting literature.