onna using a little-girl voice, but following the first verse, she switches to a richer, more mature voice in the chorus.[245] This mature artistic statement was visible in True Blue (1986). The song "Papa Don't Preach" was a significant milestone in her artistic career. The classical introduction, fast tempo and the gravity in her voice were unprecedented in Madonna's œuvre at that time.[245]With Like a Prayer (1989), Madonna again entered a new phase, musically. The album introduced live recorded songs and incorporated different genres of music, including dance, R B and gospel music.[57] Madonna continued to compose ballads and uptempo dance songs for Erotica (1992) and Bedtime Stories (1994). She tried to remain contemporary by incorporating samples, drum loops and hip hop into her music. Her voice grew much deeper and fuller, evident in the tracks like "Rain" and "Take a Bow".[249] During the filming of Evita, Madonna had to take vocal lessons, which increased her range further. Of this experience she commented, "I studied with a vocal coach for Evita and I realized there was a whole piece of my voice I wasn't using. Before, I just believed I had a really limited range and was going to make the most of it."[250]Continuing her musical evolution with Ray of Light, the track "Frozen" displayed her fully formed vocal prowess and her allusions to classical music. Her vocals were restrained and she sang the songs in Ray of Light without vibrato. However, the intake of breath within the songs became more prominent.[245] With the new millennium came her album Music in which Madonna sang in her normal voice in a medium range, and sometimes in a higher register for the chorus.[245] A change was also noted in the content of the songs, with most of them being simple love songs, but with an underlying tone of melancholy. Her next record, American Life, was characterized by "a thumping techno rhythm, liquid keyboard lines, an acoustic chorus and a bizarre Madonna rap", according to Q magazine.[251] The "conventional rock songs" of the album were suffused with dramatic lyrics about patriotism and composition, including the appearance of a gospel choir in the song "Nothing Fails".[251]Musically, things changed with Confessions on a Dance Floor, which returned Madonna to pure dance songs, infusing club beats and retro music, but the lyrics continued to be about paradoxical metaphors and reference to her earlier works.[252] In her studio album, Hard Candy, she mixed R B and hip hop music with dance tunes. The album also had songs whose lyrics were autobiographical and expressed support for helping Africa.[184] Fouz-Hernández commented that "Throughout her career, Madonna's manipulation of her voice shows us that, by refusing to be defined in one way, she has in fact opened up a space for new kinds of musical analysis."[245] With MDNA, Madonna returned to the electropop genre she flirted with on Like a Prayer and Music.[253][254][255][256] Neil McCormick of The Daily Telegraph noted the attempt was feeble, compared to her previou
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