VC565. Historical Vocal Pedagogies. Ian Howell New England Conservatory of Music 23 September Monday, September 23, 13

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1 VC565 Historical Vocal Pedagogies Ian Howell New England Conservatory of Music 23 September 2013

2 Giulio Caccini b.1551 d.1618 Florence, Italy Florentine Camerata Recitative/Text Famous singer, music teacher, composer of Medici court

3 Giulio Caccini Singers vs. instrumentalists Voce piena, e naturale vs. voce finta Avoid slides Decrescendo from attack Trillo vs. gruppo Ornamentation for affect of text

4 Pier Francesco Tosi b.1647 d.1742 Soprano Castrato Taught and performed across Europe, especially Vienna, London, and Bologna

5 Pier Francesco Tosi Study solfeggio voce di testa vs. voce di petto Head voice soft shrieking trumpet scales without separation of [h] or [g] fast passages on [a], never [i] or [u] avoid closed versions of [e] and [o]

6 Pier Francesco Tosi Progressive exercises expression towards a smile Hold out the length of notes without shrillness and trembling Messa di voce taught later Teach on [a], [Ɛ], and [ɔ], not just on [a] Drag voice high to low, but not low to high

7 Pier Francesco Tosi Appoggiatura is most important grace Trill is a necessity No rules for teaching trill

8 Pier Francesco Tosi Study with the mind Listen to the best Too much practice and vocal beauty incompatible

9 Giambattista Mancini b.1714 d.1800 Bologna Castrato, studied with Bernacchi (also Senesino s (Giulio Cesare) teacher) Studied with Mozart s composition teacher Practical Relfections on Figured Singing (1774)

10 Giambattista Mancini Good voice backed by musical intelligence Elevated chest, harmonious proportions of the vocal organs, symmetry of the mouth and teeth Physical defects are incurable homely, inexpressive face

11 Giambattista Mancini The voice has two registers, chest and head (or falsetto) They should be equalized Essential: knowing how to shape the mouth [a, e, i, o, u] sung on each note in the position of a smile [i] is difficult, sing in a composed smile

12 Giambattista Mancini Head erect The chest (air) should give the voice with naturalness and use the throat smoothly and easily. Weak voice with extended range can be addressed One way to place a voice = sustained tones

13 Manuel Garcia II b.1805 d.1906 Spanish First to see vocal folds in action Laryngoscope Innovator, assimilator, controversial

14 Manuel Garcia II and those that followed 1. Sostenudo (sustained tones)

15 Examples of sostenudo from Mathilde Marchesi s Theoretical & Practical Vocal Method

16

17 Manuel Garcia II and those that followed 1. Sostenudo (sustained tones) 2. Portamento (dragging)

18 Source: Garcia II A Complete Treatise on the Art of Singing

19 Examples of portamento from Mathilde Marchesi s Theoretical & Practical Vocal Method

20 Manuel Garcia II and those that followed 1. Sostenudo (sustained tones) 2. Portamento (dragging) 3. Legato (connected tones)

21

22 Manuel Garcia II and those that followed 1. Sostenudo (sustained tones) 2. Portamento (dragging) 3. Legato (connected tones) Scales too!

23 Source: Garcia II A Complete Treatise on the Art of Singing

24 Manuel Garcia II and those that followed 1. Sostenudo (sustained tones) 2. Portamento (dragging) 3. Legato (connected tones) Scales too! 4. Onset

25 Examples for the right action of the glottis from Carlo Bassini, Art of Singing (1884)

26 Manuel Garcia II and those that followed 1. Sostenudo (sustained tones) 2. Portamento (dragging) 3. Legato (connected tones) Scales too! 4. Onset 5. Registration

27

28 Manuel Garcia II and those that followed 1. Sostenudo (sustained tones) 2. Portamento (dragging) 3. Legato (connected tones) Scales too! 4. Onset 5. Registration 6. Laryngeal stability Clear and Somber Tone!!

29 Sources available online in course Bibliography

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