[ SECRET POST #2578 ]

[case]

⌈ Secret Post #2578 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

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Notes:

Secrets Left to Post: 01 pages, 020 secrets from Secret Submission Post #368.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 0 - not!fandom ], [ 0 - too big ], [ 0 - repeat ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Comments

[(Anonymous)]

SA

What's interesting is when you compare Broadway musicals through the years--listening to musicals in the '50s, singing in your head voice was MUCH more expected back then, it was very much the prevailing aesthetic. Whereas now it seems to sound "fake" or fussy to some people, and Broadway songs (and for all intents and purposes Let It Go might as well be a Broadway song--it's part of a musical, it's a character piece) are written to the belt. There are a couple of possible explanations for this--one is that rock started getting big in the '60s. The rock sound per se never *really* penetrated Broadway much (beyond a few exceptions like Jesus Christ Superstar--even Hair is more pop/Broadway than true rock) but we got used to the sound of rock voices, and grew to value that raw emotionalism (the '60s also placed a premium on "keeping it real") and seemingly less artifical sound (which is funny because as I said in an earlier comment, "classical" singing is actually more natural and uses your instrument more efficiently--belting is *less* natural and harder on the voice).

But another possible reason might be, oddly, the rise of the women's movement--belters are women and a lot of belted songs tend to be emotional anthems. I'm thinking a song like Defying Gravity or Waiting for Life (LOVE that song! This classically trained white soprano just loves doing that one at auditions) might not have such a great reception in the '30s or '40s--there's a lot of overwhelming female emotion there. But that might be too simplistic an explanation.