Unveiling the Soprano

The ANU School of Music is an elite and progressive tertiary music school with a proud and rich history. It was the first purpose-built music school facility in Australia and for more than 45 years the school has played a central role in the cultural life of Canberra.As a School of the Australian National University, the ANU School of Music seeks to be the national leader in research-led teaching in music performance, musicianship, and musicology. Its curriculum strives to be ethically informed, independent-minded, intellectually rigorous, outward-looking, responsible, accountable, and receptive to new ideas. Through its teaching, research, and outreach the School aims to meet the needs of the local and national community as well as established and emerging creative industries, and promote and sustain a musically aware and critically informed citizenry.Ticketing PolicyRefunds, exchanges and transfersWe do not refund, exchange or substitute tickets after purchase nor do We replace tickets that may have been stolen lost or destroyed, other than as set out in these terms and conditions. Please treat your tickets like cash as we cannot replace lost tickets.Refund information for any cancelled or rescheduledevent will be emailed to ticketholders.EntryYou will be required to present your ticket for entry to the event.ConcessionPlease ensure you have your Proof of Concession with you when you attend an event. Concessions include;Australian pensioners and Senior card holders,Current members of Friends of the School of Music.Curent full-time Student, Australian and International

ANU School of Music

PhD Candidate Sarah Mann (soprano) will present a lecture recital exploring Western operatic singing perception.

Larry Sitsky Recital Room, ANU School of Music

Why do listeners experience intense emotions to Western operatic singing? What is it about the acoustics of a soprano’s operatic technique that modifies our attention? Vocal sound is affected by emotion and conveys information useful for survival. These 'signals' are processed quickly and efficiently by our auditory system, enabling fast responses. How might operatic technique contain and control such signals? Are they a clue to the chills, tears and gasps opera audiences experience?Sarah Mann's interdisciplinary PhD program interrogates vocal performance practice using methods creative, qualitative and scientific. Join her, with collaborative pianist Ella Luhtasaari on piano, as she summarises and demonstrates her research.

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