By James Stark
In this good documented and hugely readable e-book, James Stark presents a historical past of vocal pedagogy from the start of the bel canto culture of solo making a song within the past due 16th and early 17th centuries to the current. utilizing a nineteenth-century treatise by way of Manuel Garcia as his element of reference, Stark analyses the numerous resources that debate making a song suggestions and selects a few basic vocal 'problems' for exact research. He additionally provides info from a chain of laboratory experiments conducted to illustrate the recommendations of bel canto.
The dialogue bargains commonly with such themes because the emergence of virtuoso making a song, the castrato phenomenon, nationwide changes in making a song types, controversies in regards to the perennial decline within the artwork of making a song, and the so-called secrets and techniques of bel canto.
Stark deals a brand new definition of bel canto which reconciles old and clinical descriptions of fine making a song. His is a fresh and profound dialogue of matters very important to all singers and voice teachers.
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Extra resources for Bel Canto: A History of Vocal Pedagogy
Brahms wrote the Magelone Lieder and the baritone part of the Deutsches Requiem especially for him. Stockhausen founded his own school in Frankfurt am Main in 1880, and his important vocal treatise, based upon Garcia’s, was published in both German and English in 1884 (Stockhausen 1884). 2 Another pupil of Stockhausen, Max Friedlaender, studied first with Garcia in Paris and London. Friedlaender became a Schubert scholar and edited the widely used Peters edition of Schubert’s songs. Garcia’s influence as both scholar and teacher is thus well represented in his students.
Catford described two discrete glottal settings which produced different voice qualities. ’ In the five-fifths setting, ‘the entire length of the glottis – both the anterior (ligamental) and the posterior (arytenoidal) parts – can be regarded as (potentially) functioning as a single unit’ (Catford 1977, 102). This description resembles Garcia’s, although Catford does not cite Garcia. John Laver, a follower of Catford, used the terms ‘lax’ voice and ‘tense’ voice for these two glottal settings, but recognized the pitfalls in these labels.
Mathilde Marchesi (who accepted only female pupils) established her own school, where she taught such famous singers as Emma Calvé, Emma Eames, Nellie Melba, and her own daughter Blanche Marchesi. Her influential vocal tutor, based on Garcia’s teaching, went through several editions and is available in a modern reprint edition (M. Marchesi 1877, 1970). Charles Battaille, a medical doctor who studied with Garcia in Paris before entering the Paris Opéra as a bass, published a pamphlet on vocal physiology (Bataille 1861).
Bel Canto: A History of Vocal Pedagogy by James Stark