THE REVIEW OF COUNTERTENOR VOICE IN THE ASPECT OF REPERTORY

Abstract

As with many topics, we can observe detailed studies about voice types in vocal music. However, the research subjects of these studies remain in a very limited frame. Especially, while we can run into detailed researches on basic voices such as soprano, tenor, baritone, mezzosoprano, despite being an object of interest, we observe that there isn’t enough research about countertenor voice of which has immense importance in opera history and extensive repertory in literature. Performing in a wide range, including the repertory of the castrato singers having a mark on an era, the countertenor voice and its repertory are subject of worth-stressing. Having much importance as the other voices have on stage, the countertenor's voice differs in the aspect of its effect on the audience. Female-like or even sometimes genderless tones from a male body have a specific significance in vocal music history. Although the basic principles of training do not differ from the other voice types, voice teachers or pedagogues may have various questions in mind when the countertenor is the subject. So besides the voice types that are studied more, this article aims to research the countertenor voice that is relatively studied less, the training principles and the diverse repertory, and the possibility to make a contribution to the literature.