Historical Vocal Pedagogies -...
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Historical Vocal Pedagogies
VC565
New England Conservatory of Music23 September 2013
Monday, September 23, 13
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Giulio Caccinib.1551 – d.1618Florence, ItalyFlorentine Camerata – Recitative/TextFamous singer, music teacher, composer of Medici court
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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
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Pier Francesco Tosib.1647 – d.1742Soprano CastratoTaught and performed across Europe, especially Vienna, London, and Bologna
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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]
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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
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Pier Francesco Tosi•Appoggiatura is most important grace•Trill is a necessity•No rules for teaching trill
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Pier Francesco Tosi•Study with the mind •Listen to the best •Too much practice and vocal beauty incompatible
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Giambattista Mancini b.1714 – d.1800Bologna
Castrato, studied with Bernacchi (also Senesino’s (Giulio Cesare) teacher)
Studied with Mozart’s composition teacher
“Practical Relfections on Figured Singing” (1774)
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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
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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
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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
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Manuel Garcia IIb.1805 – d.1906SpanishFirst to see vocal folds in actionLaryngoscope
Innovator, assimilator, controversial
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Manuel Garcia II and those that followed
1. Sostenudo (sustained tones)
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Examples of sostenudo from Mathilde Marchesi’s Theoretical & Practical Vocal Method
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Manuel Garcia II and those that followed
1. Sostenudo (sustained tones)2. Portamento (dragging)
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Source: Garcia II A Complete Treatise on the Art of Singing
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Examples of portamento from Mathilde Marchesi’s Theoretical & Practical Vocal Method
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Manuel Garcia II and those that followed
1. Sostenudo (sustained tones)2. Portamento (dragging) 3. Legato (connected tones)
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Manuel Garcia II and those that followed
1. Sostenudo (sustained tones)2. Portamento (dragging) 3. Legato (connected tones) – Scales too!
Monday, September 23, 13
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Source: Garcia II A Complete Treatise on the Art of Singing
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Manuel Garcia II and those that followed
1. Sostenudo (sustained tones)2. Portamento (dragging) 3. Legato (connected tones) – Scales too!4. Onset
Monday, September 23, 13
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Examples for the “right action” of the glottis from Carlo Bassini, Art of Singing (1884)
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Manuel Garcia II and those that followed
1. Sostenudo (sustained tones)2. Portamento (dragging) 3. Legato (connected tones) – Scales too!4. Onset5. Registration
Monday, September 23, 13
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Manuel Garcia II and those that followed
1. Sostenudo (sustained tones)2. Portamento (dragging) 3. Legato (connected tones) – Scales too!4. Onset5. Registration6. Laryngeal stability – Clear and Somber Tone!!
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Sources available online in course Bibliography
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