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1979
Recommended Citation
Joiner, James Richard, "The Vocal Principles of Garcia as Represented by His Pupils: Bataille, Marchesi, and Stockhausen." (1979).
LSU Historical Dissertations and Theses. 3443.
https://digitalcommons.lsu.edu/gradschool_disstheses/3443
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TH E V O C A L P R I N C I P L E S OF G A R C I A
AS R E P R E S E N T E D B Y HIS PUPILS:
A Dissertation
S u b m i t t e d to the G r a d u a t e F a c u l t y of the
L o u i s i a n a S t a t e U n i v e r s i t y and
Agricultural and Mechanical College
in p a r t i a l f u l f i l l m e n t of the
r e q u i r e m e n t s for the de g r e e of
D o c t o r of P h i l o s o p h y
by
Ja m e s R i c h a r d Jo i n e r
B.M., M i s s i s s i p p i College, 1964
M. C . M . , S o u t h w e s t e r n B a p t i s t T h e o l o g i c a l Semi n a r y , 1968
M.M., L o u i s i a n a Sta t e Univer s i t y , 1974
D e c e m b e r 1979
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TABLE OF CONTENTS
Chapter
I. I N T R O D U C T I O N ......................................... 1
A S u r v e y of P e d a g o g i c a l A p p r o a c h e s
a n d t h e i r R e l a t i o n s h i p s To V o i c e
S c i e n c e R e s e a r c h Pr i o r to G a r c i a . . . . 8
Ga r c i a ' s R e s e a r c h and Its I n f l u e n c e
U p o n His T e a c h i n g P r i n c i p l e s ............... 13
A C a t e g o r i c a l D e s c r i p t i o n of G a r c i a ' s
T e a c h i n g ....................................... 29
V. THE T E A C H I N G P R I N C I P L E S OF S T O C K H A U S E N . . . . 173
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VI. CONCLUSIONS AND RECOMMENDATIONS FOR
F U R T H E R ST U D Y .................................... 217
A t t i t u d e s an d A p p r o a c h e s in Gene r a l . . . . 217
A t t a c k .................................... 219
V o i c e Qualities, Vowels, and D i c t i o n . . . 226
Br e a t h i n g and C o o r d i n a t i o n ................. 228
S u m m a t i o n .................................. 230
R e c o m m e n d a t i o n s for F u r t h e r S tudy .......... 231
SE L E C T E D B I B L I O G R A P H Y .................................. 233
A P P E N D I X I; T R A N S L A T I O N OF THE R E P O R T ON
GA R C I A ' S M E M O I R E S U R LE VOI X
H U M A I N E ............................. 242
A P P E N D I X II: T R A N S L A T I O N OF A N E X T R A C T F R O M
BATTAILLE'S NOUVELLES R E C H E R C H E S . . 254
VITA 266
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LIST OF FIGURES
1. GARCIA: R E G I S T E R RA N G E S F O R E A C H V O I C E
C L A S S I F I C A T I O N ..................................... 41
2. G ARCIA: M O V E M E N T S OF T HE L A R Y N X A N D
SOF T P A L A T E IN R E L A T I O N TO V O C A L
T I M B R E S ............................................ 56
4. B A T T A I L L E ' S D R A W I N G S OF T H E G L O T T I S
DURING CHEST AND FALSETTO
P R O D U C T I O N ......................................... 92
5. B A T T A I L L E ' S RA N G E S F O R TH E F O U R M A J O R
V O I C E C L A S S I F I C A T I O N S .............................. 102
8. MA R C H E S I : C A D E N Z A W R I T T E N F O R N E L L I E
M E L B A ................................................. 129
9. MARCH E S I : S T U D I E S U S I N G G R U P P E T T O S
A N D M O R D E N T S .......................................... 137
10. R E C I T A L P R O G R A M OF M A R C H E S I ' S O P E R A
AN D C O N C E R T CLASSES; D E C E M B E R 1900 ............ 145
iv
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19. E X E R C I S E A C A N O N E IN U N I S O N ..................... . 189
24. STOCKHAUSEN: P O R T A M E N T O E X E R C I S E S
F O R S P E C I F I C V O I C E S ............................. 205
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ABSTRACT
a p a r t of the c o n t e m p o r a r y i n t erest in s c i e n t i f i c
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(1826-1906), the n o t e d i n t e r p r e t e r of the li e d e r of
s c hool in F r a n k f u r t - a m - M a i n .
ov e r a l l c o o r d i n a t i o n of the v o c a l m e c h a n i s m . An a n a l y s i s
r e f e r e n c e is m a d e in cases w h e r e c u r r e n t sc i e n t i f i c r e
pr i n c i p l e s h e l d b y some of the t e a c h e r s .
the b e l i e f s a n d p r o c e d u r e s of e a c h t e a c h e r in r e g a r d to
c o o r d i n a t e d w i t h p r o p e r b r e a t h i n g a n d b r e a t h control.
The y w e r e e q u a l l y con c e r n e d w i t h t h o r o u g h d e v e l o p m e n t of
vii
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laryngeal p o s i t i o n and m o u t h p o s i t i o n , a n d w i t h vowel
appendices in c l u d e two t r a n s l a t i o n s of n o t e w o r t h y
la v o i x h u m a i n e to the F r e n c h A c a d e m y o f S c i e n c e s in
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I. INTRODUCTION
Ma n u e l P a t r i c i o R o d r i g u e z Garcia (1805-1906) is
c r e d i t e d by some w r i t e r s as b e i n g t h e f i r s t s i n g e r to
i n v e s t i g a t e in d e p t h t h e s c i e n c e o f h u m a n v o ice p r o d u c t i o n . ^
In a d d i t i o n to b e i n g h i g h l y r e s p e c t e d in m e d i c a l c i r c l e s of
o f p r o m i n e n t s i n g e r s is e n h a n c e d b y t he le n g t h y list of s u c
^ I n t e r n a t i o n a l C y c l o p e d i a o f M u s i c and M u s i c i a n s ,
1 0 t h ed., s.v. " S i n g i n g , " b y O s c a r Thompson.
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2
vocal teaching.^
T h e p r i m a r y c o n c e r n of this stu d y h a s b e e n to i n v e s
t i g a t e th e e f f e c t of G a r c i a ' s r e s e a r c h u p o n hi s t e a c h i n g
p r i n c i p l e s an d to c o m p a r e t h e s e p r i n c i p l e s w i t h th o s e
f o u n d in t h e m e t h o d s a n d w r i t i n g s of s e l e c t e d pupils.
i m p o r t a n c e as b o t h sin g e r s an d tea c h e r s a n d e v i d e n c e of
t h e i r i n t e r e s t in v o c a l p e d a g o g y in t h e i r p u b l i c a t i o n of
m e t h o d s an d w r i t i n g s c o n c e r n i n g this subject. A f t e r a ll
G a r c i a p u p i l s w e r e s u b j e c t e d to the s e cr i t e r i a , th r e e n ames
C o m i q u e and T h e a t r e L y r i q u e a n d w h o p u b l i s h e d his r e s e a r c h
Mathilde Marchesi, h i g h l y r e g a r d e d as a c o n c e r t si n g e r in
En g l a n d a n d as an o p e r a p e r f o r m e r on t h e cont i n e n t , who
ta u g h t at t h e V i e n n a a n d P aris C o n s e r v a t o r i e s , and w h o s e
m e t h o d an d v o c a l i s e s h a v e b e e n w i d e l y p u b l i s h e d ; and Juli u s
St o c k hausen, t h e n o t e d i n t e r p r e t e r of t h e l i e d e r of Schubert,
am-Main.
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3
approaches a nd in t he fo l l o w i n g c a t e g o r i e s : b r e a thing;
of this study, w h i c h is s p e c i f i c a l l y p e d a g o g i c a l in a p p r o a c h
and natu r e .
G a r c i a t e a c h e r w as d e t e r m i n e d c h r o n o l o g i c a l l y a c c o r d i n g to
t he d a t e w h e n the t e a c h e r s b e g a n t h e i r v o i c e st u d y w i t h
o f t h e i r r e s e a r c h a n d publ i c a t i o n s , an a n a l y s i s of the
comparisons ha v e b e e n m a d e b e t w e e n t he m e t h o d s o f Gar c i a
and t he o t h e r teachers. In i n s t a n c e s w h e r e c u r r e n t s c i e n
ti f i c r e s e a r c h has a d d e d n e w i n s i g h t to t he p h y s i o l o g i c a l
is made.
f r o m t e a c h e r to student. It is f u r t h e r h o p e d that
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4
i n f o r m a t i o n r e s u l t i n g from this s t u d y w i l l be h e l p f u l in
o f teach i n g , as c l a i m e d by A m e r i c a n s i n g e r and Ga r c i a
Defi n i t i o n s
Pe d a g o g i c a l Terms
w h i c h f l o u r i s h e d in It a l y f r o m the s e v e n t e e n t h to
the e a r l y n i n e t e e n t h c entury. It c o n s i s t e d of an
e m p h a s i s on b e a u t y of tone, c a r e f u l phrasing, an
d e c l a m a t o r y styles w h i c h e v o l v e d in later
n i n e t e e n t h - c e n t u r y v ocal m u sic.
s y l l a b l e s of solmization, t h e s e b e i n g used in s t e a d
of a text.
v o c a l exercise. B a s i c vocal d r i l l s d e s i g n e d to a c c o m p
lish a s p e c i f i c purpose,
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5
w e r e d e s i g n e d to a c c o m p l i s h the same p e d a g o g i c a l
p u r p o s e as v o cal e x e r c i s e s b y p r o v i d i n g p r a c t i c e
A n a t o m i c a l Terms
s u p e r i o r b o r d e r of the c r i c o i d ca r t i l a g e . The
t he a r y t e n o i d s . M a n y of t he b i o l o g i c a l and no n -
t h r o u g h m o v e m e n t s of the a r y t e n o i d c a r t ilages,
im m e d i a t e l y s u p e r i o r to the u p p e r m o s t t r a cheal
f ramework.
e n t e r i n g the l a r y n x d u r i n g d e g l u t i t i o n ,
fauces. The p o r t t h r o u g h w h i c h t he o r a l c a v i t y c o m m u n i
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arches, a b o v e b y the s o f t pa l a t e , and b e l o w by
in t r i n s i c l a r y n g e a l m u s c l e s . M u s c l e s w h i c h h a v e both
sound p r o d u c t i o n ,
vical v e r t e b r a b e h i n d a n d the c r i c o i d c a r t i l a g e in
the v o c a l folds,
It a r t i c u l a t e s w i t h t he c r i c o i d c a r t i l a g e l a t e r
cartilage.
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7
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II. TH E R E S E A R C H A N D T E A C H I N G P R I N C I P L E S OF G A R C I A
A S u r v e y of P e d a g o g i c a l A p p r o a c h e s and
T h e i r R e l a t i o n s h i p s to V o i c e Scie n c e
R e s e a r c h P rior to G a r c i a
n a t i o n a l i t i e s h a v e view e d M a n u e l Ga r c i a as b o t h the c u l m i
c o n t r i b u t e d m o s t to the p r o m u l g a t i o n of the s c i e n t i f i c
^Taylor, 56-57.
^ A l b e r t L a vignac, gen. e d . , E n c y c l o p é d i e de la m u s i
q u e et d i c t i o n n a i r e du c o n s e r v a t o i r e , il vols, in 2 parts.
P h y s i o l o g i e v o c a l e et aud i t i v e t e c h n i q u e v o c a l e et i n s t r u
m e n t a l , s.v. " E v o l u t i o n de la t e c h n i q u e v o c a l e , " by J ane
A r g e r , 990.
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9
f e elings t o w a r d the u s e f u l n e s s of p h y s i o l o g i c a l k n o w l e d g e
h i s t o r y as p r o o f of a r e l a t i v e d i s i n t e r e s t in s c i e n c e on
T he p h y s i o l o g i s t s e x p o u n d th e s e d i f ferences,
c aus e d b y posit i o n , p a ssage, shape, air, e x p i
ration, a n d all the c o n d i t i o n s of the larynx;
ba s e d on t h e immut a b l e f o u n d a t i o n of i n c o n
t esta b l e reason. O u r o p i n i o n is, that e v e r y
thing w h i c h is d e r i v e d f r o m e x p e r i e n c e has no
need of r e a s o n i n g . . . W h i l e t h e y go on
i n v e s t i g a t i n g n a t u r e in o r d e r to find it out
w i t h reason, we . . . s h a l l be c o n t e n t to
u n d e r s t a n d it w i t h the t e a c h i n g o f e x p e r i e n c e
itself.^
^Die M u s i k in G e s c h i c h t e a nd G e g e n w a r t , s.v.
" G e s a n g s p a d a g o g i k , " b y Arnold" G e ering, 1925.
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si n g i n g s t u d e n t s of t h e p e r i o d . ^ J. F. A g r i c o l a (1720-
1741, by A n t o i n e F e r r e i n (1693-1769), a F r e n c h ph y s i c i a n ,
^Taylor, 56.
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11
a r y p e r f o r m a n c e practice, a d e s c r i p t i o n of t e a c h i n g p r o
s o u n d s ) , a c h i e v e d by e f f e c t i v e m a n a g e m e n t of exhalation.
He a l s o b e l i e v e d t h a t d i f f e r e n c e s in th i c k n e s s , l e ngth and
c l a s s i f i c a t i o n s .^
F r e n c h gains in v o i c e sc i e n c e w e r e d e s t i n e d to fill
o l d fe u d c o n c e r n i n g F r e n c h a nd It a l i a n s i n g i n g s tyles still
persisted. A r g e r b e l i e v e d t h a t n i n e t e e n t h - c e n t u r y w r i ters
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w i t h the i n e x h a u s t i b l e p a t i e n c e of the s t u d e n t . T h e
s uch a d e g r e e th a t I t a l i a n t e a c h e r s w e r e b r o u g h t to the
o r in It a l i a n a nd F r e n c h a l t e r n a t e l y . ^ ^
In e a r l y n i n e t e e n t h - c e n t u r y France, i n t e r e s t in
w e r e n ot t o t a l l y s a t i s f i e d w i t h a m e t h o d that w as an I t a l i a n
stages of w h a t w a s to b e c o m e a f l u r r y of a c t i v i t y and i n v e s
c o m p a r e d gl o t t a l a c t i o n to lips p l a y i n g a h o r n , ^ ^ Ma g e n d i e ,
r e f l e c t this g r o w i n g i n t e r e s t a l m o s t f r o m its i n c e p t i o n in
in 1840:
^^Ibid.
l^ T aylor 56.
^^Arger, 990.
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1836-1837 (three e n t r i e s ) .
C a g n i a r d - L a t o u r , "Sur la p r e s s i o n a l a q u e l l e l'air
c o n t e n u d a n s la t r a c h é e - a r t è r e est soumis p e n d a n t l'ac t e
de la p h o n a t i o n , " 1836.
to Garcia:
Debay, H y g i e n e de la v o i x et g y m n a s t i q u e des
or g a n e s v o c a u x , 1823.
M a l g a i g n e , N o u v e l l e t h é o r i e de la v o i x h u m a i n e ,
1831.^^
It m u s t be n o t e d t h a t n i n e t e e n t h - c e n t u r y v o i c e
p osal of artists.
Biographical Material
D o m e n i c o Corri (1746-1825), a p u p i l of N i c o l o
^^Arger, 990.
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14
k n o w l e d g e and b o r r o w e d t h i s p r e d i c t i o n :
s i n g i n g a w a i t e d t h e c o m b i n a t i o n of a b i l i t i e s found in M a n u e l
b y H e n r y Chorley, a c o n t e m p o r a r y a r t s critic, as
T h e G a r c i a r e c o r d of v o c a l a c c o m p l i s h m e n t b e gan w i t h M a n u e l
It a l i a n t e n o r . I n a d d i t i o n to t h e y o u n g e r Manuel, two
o t h e r G a r c i a c h i l d r e n r e c e i v e d i n s t r u c t i o n from the i r f a t h e r
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15
h a b i t o f b r i n g i n g home the w i n d p i p e s of v a r i o u s a n i m a l s
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hi s o w n t e a c h i n g p r a c t i c e in Paris. His p h y s i o l o g i c a l
as a u n i q u e fi g u r e in the w o r l d of singing:
was p u b l i s h e d . I n 1842 he w a s a p p o i n t e d p r o f e s s o r of
h e p u b l i s h e d P a r t II of the T r a i t e . He w a s a p p o i n t e d
^ ^ I b i d . , 90.
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17
p r o f e s s o r of s i n g i n g at the Royal A c a d e m y of M u s i c in Lo n d o n
a nd e x p e r i e n c e . His o n e - h u n d r e d t h b i r t h d a y w a s m a r k e d by
f e s t i v i t i e s w h i c h b e g a n at the R oyal Me d i c a l a n d C h i r u r g i c a l
Music, a n d f r o m l a r y n g o l o g i c a l socie t i e s f r o m v a r i o u s c o u n
i n v e s t e d w i t h t he Ro y a l O r d e r of A l f o n s o XII in the n a m e of
by m o s t o f th e f o r e i g n s o c i e t i e s represented. G a r c i a d ied
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G a r c i a ' s R e s e a r c h a nd P u b l i c a t i o n s
years l a t e r . I n the M é m o i r e , he c o n c e n t r a t e d u p o n vo c a l
ti o n of r e g i s t r a t i o n w h i c h w a s d e s t i n e d to b e c o m e a basis
for m o s t s u b s e q u e n t r e s e a r c h on th e subject.
By t h e w o r d register, w e u n d e r s t a n d a ser i e s of
c o n s e c u t i v e and h o m o g e n o u s s ounds g o i n g f r o m low
to high, p r o d u c e d by t h e d e v e l o p m e n t of the same
m e c h a n i c a l principle, a n d w h o s e n a t u r e d i f f e r s
fro m a n o t h e r series of s o u n d s e q u a l l y c o n s e c u
tiv e a n d h o m o g e n o u s p r o d u c e d b y a n o t h e r m e c h a n
ical p r i n ciple. Al l the s ounds b e l o n g i n g to
the same r e g i s t e r are c o n s e q u e n t l y of the same
nature, w h a t e v e r m a y b e the m o d i f i c a t i o n s of^g
t i m b r e or of force to w h i c h o n e subje c t s it.
G a r c i a d i d not at t e m p t to d i s c u s s the u n d e r l y i n g p h y s i
o l o g y of r e g i s t r a t i o n at l e n g t h in the M é m o i r e . Detailed
E. D u verger, 1847).
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
19
p r i n c i p a l colors; c l e a r timbre, p r o d u c e d by a g e n e r a l c o n
p a l a t e and l o w e r e d l a r y n x . T o g e t h e r w i t h an i n t e r e s t in
his career.
indicating t h a t i n t e r e s t in the s e f a c t o r s a b o u n d e d b e f o r e
Garcia's s t u d e n t s d e m o n s t r a t e d d i s t i n c t i v e r e g i s t e r c h a r a c
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
20
a p parently m o s t e n t h u s i a s t i c in r e g a r d to the m o d i f i c a t i o n s
qualities :
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
D u t r o c h e t ' s r e p o r t b r o u g h t up one p o i n t w h i c h w a s
A c a d e m y June 1, 1840 b y D i d a y an d P e t r e g u i n w h i c h fo u n d
ever, a p p a r e n t l y b e l i e v e d this g u a l i t y to be u s e f u l o n l y
a c c o r d e d Ga r c i a a p a r t in its d i s c o v e r y .
h a v e b e e n u s i n g the s o m b e r t i m b r e as a p a r t of his t e a c h
^Ibid., 642-643.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
22
h e f e l t w a s c o n s i d e r a b l y different. He t h e n s t a t e d tha t
t h e i r w o r k w a s p u b l i s h e d five and o n e - h a l f m o n t h s p r i o r to
w as h i s C o m p l e t e T r e a t i s e o n the A r t o f S i n g i n g , Par t I of
v i d e d a p u b l i c a t i o n c h r o n o l o g y of P a r t s I a nd II;
E c o l e de Garcia; T r a i t e c o m p l e t e de l ' A r t d u C h a n t . ;
M a y e n c e : B. S c h o t t ' s Sons, 184 7.
P a r t I a n d P a r t II are in s e p a r a t e v o l u m e s w i t h
s e p a r a t e p a g i n a t i o n . . . The p r e f a c e of P a r t I
i n c l u d e s a l e n g t h y e x t r a c t from the M é m o i r e . B o t h
p a r t s h a v e p a r a l l e l F r e n c h and G e r m a n texts.
N o v e a u T r a i t é s o m m a i r e de l ' A r t du C h a n t . Paris:
M. R i c hard, 1856.
T he a u t h o r r e f e r r e d to this as the f o u r t h e d i t i o n
of h i s m e t h o d . It w a s c o n s i d e r a b l y a b r i d g e d fr o m the
e a r l i e r e d i t i o n s , and it r e f lects some v e r y s l i g h t
a l t e r a t i o n s as a r e s u l t o f his u se of the lary n g o s c o p e .
This v e r s i o n c o n t i n u e d to be r e p r i n t e d t h r o u g h o u t the
author's lifetime.
English Translations
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
T he A r t of S i n g i n g y P a r t I . Boston: O l i v e r D i t s o n Co.,
(18— ?), n.d.
This is a n e a r l y d i r e c t t r a n s l a t i o n of the 1856
t e x t . . . T h e o d o r e P r e s s e r r e p r i n t e d this v e r s i o n
in the 1 9 4 0 's.
F r e n c h A c a d e m y of Sc i e n c e s on Ga r c i a ' s M é m o i r e , a b r i e f
by w h i c h a v o c a l i n s t r u m e n t c o u l d be d e v e l o p e d for the p e r
a t t e m p t i n g o n l y to give it a m o r e t h e o r e t i c a l fo r m to
co n n e c t r e s u l t s w i t h causes.
Taylor, 57.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
24
it wa s an a p p l i c a t i o n of the t e c h n i c a l a p p r o a c h e s e m b odied
II w e r e d e s t i n e d to u n d e r g o some d e g r e e of m o d i f i c a t i o n as
la r y n g o s c o p e , w a s a r e l a t i v e l y o b j e c t i v e study in spite of
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
b o u g h t it for six francs. H a v i n g o b t a i n e d also a
h and mirror, I r e t u r n e d hom e at once, v e r y i m p a
tient to b e g i n my e xperiments. I placed against
the uvula the little m i r r o r (which I ha d h e a t e d in
w a r m w a t e r and ca r e f u l l y d r i e d ) ; then, fla s h i n g
upo n the sur f a c e w i t h a h and m i r r o r a ra y o f sun
light, I sa w at once, to m y g r e a t joy, the g lottis
op e n b e fore me, and so fully exposed, t hat I cou l d
pe r c e i v e a p o r t i o n of the trachea. When my excite
m e n t had s o m e w h a t subsided, I b e g a n to e x a m i n e
w h a t was p a s s i n g be f o r e m y eyes. The m a n n e r in
wh i c h the g l o t t i s silen t l y o p e n e d a n d shut, and
m o v e d in the act of p h o n a t i o n f i l l e d me w i t h
wonder.
G a r c i a m ade an u n p r e c e d e n t e d a p p l i c a t i o n of the t h e o r y of
c e s s i v e and r e g u l a r e x p l osions w h i c h it p r o d u c e s in p a s s i n g
o n ree d pipes:
^°St. Cl
s cope," L a r y n g o s c o p e 15 (1905), 181; c i t e d by Woglom, 89.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
W h e n the voi c e is heard, the v o c a l c o r d s act as
m e m b r a n o u s tongues, a n d like all t o n g u e s p r o d u c e a
seri e s of d e c i d e d l y d i s c o n t i n u o u s and s h a r p l y s e p a
ra t e d p ulses of air, w h i c h on b e i n g r e p r e s e n t e d as
a s um of simple v i b r a t i o n s , m u s t c o n s i s t of a ver y
large nu m b e r of them, a n d hen c e be r e c e i v e d by the
e a r as a v e r y long se r i e s of p a r t i a l s b e l o n g i n g to
a c o m p o u n d m u s i c a l t o n e . 53
" O b s e r v a t i o n s " c o n s i s t e d of p l a u s i b l e c o n j e c t u r e s c o n c e r n
of the coup de g l o t t e .
55,
■"Ibid., 409.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
27
function. T h e c a r t i l a g e s of the l a r y n x w e r e n o t m e n t i o n e d
a nd o n l y a d e s c r i p t i o n of function at the g l o t t i s e s s e n -
remained.^^
references to g l o t t a l m o v e m e n t s q u i t e o b v i o u s l y o b s e r v e d
By c o m p a r i s o n , similar descriptions in t he e a r l i e r M é m o i r e
tion a nd s i n g i n g o f a s c e n d i n g and d e s c e n d i n g p a s s a g e s .
A l t h o u g h t he t h r u s t of Pa r t II w as style a n d p e r f o r m a n c e
S u b s e q u e n t d i s c u s s i o n s w i l l treat t h e s e a r e a s of c o ntrast.
57
M a n u e l G arcia , The A r t of S i n ging, P a r t I. Boston:
O l i v e r D i t s o n Co., (1856?), n . d . , 5-7.
58ibid., 7.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
28
Hi n t s on S i n g i n g , p u b l i s h e d w h e n Ga r c i a w a s ninety, sligh t l y
m o r e value to teac h e r t h a n p u p i l . A fu r t h e r p a r a g r a p h
and a p p r oaches :
■^Ibid., iii.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
p u p i l the o p p o r t u n i t y of a p p lying the p r e c e p t s set
forth. At the p r e s e n t da y the a c q u i r e m e n t of f l e x i
bility is n o t in g r e a t esteem, and w e r e it not, p e r
haps, for the v e n e r a b l e Handel, d e c l a m a t o r y m usic
w o u l d re i g n alone. This is to be r e gretted, for n o t
o n l y m u s t the art suffer, bu t also the y o u n g fresh
voices, to w h i c h the b r i l l i a n t f lorid style is the
m o s t congenial; the h a r d e r and m o r e s e t t l e d organs
b e i n g b e s t suit e d for decl a m a t i o n . ® ^
a d o p t e d a q u e s t i o n - a n d - a n s w e r approach, "en d e a v o r i n g to f o r e
dent.
P a r t I of H ints c o n s i s t e d of a n a t o m i c a l drawings,
D i f f e r e n c e s of o p i n i o n hav e long e x i s t e d c o n c e r n i n g
d e c l a r e d G a r c i a to be an i n i t i a t o r of a n e w o b j e c t i v e m e t h o d
®"^Ibid., iv.
^^Garcia, Hi n t s o n S i n g i n g , iv.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
30
c o n c l u s i o n d r a w n b y w r i t e r s of the l a t t e r p e r s u a s i o n was
on S i n g i n g r e v e a l s t hose t e a c h i n g a reas w h i c h w e r e m o s t
ences on o t h e r p e d a g o g i c a l a reas m a y be r e l e g a t e d to a n o t h e r
in his p e d a g o g i c a l w r i t i n g s to j u s t i f y t h e o r i e s a n d p r o c e
tions.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
The c o u p de gl o t t e
A l t h o u g h c o n c e p t s o f effi c i e n t , well-coordinated
a t t a c k o r p h o n a t i o n h ad lo n g b e e n a p a r t of s i n g i n g p e d a
w e r e u n i que.
p r o d u c t of h is f a s c i n a t i o n w i t h the a c t i o n of t he v o c a l
. . . t he l o w e r j a w s h o u l d be a l l o w e d to fall by
i ts o w n weight, w h i l e the c o r n e r s of t h e li p s r e
tire slightly . . . The tongue should be loose
a n d m o t i o n l e s s , w i t h o u t a n y a t t e m p t to r a i s e it
at e i t h e r e x t r emity; t h e m u s c l e s o f t he t h r o a t
sh o u l d be r e l a x e d . . . T h e p u p i l b e i n g t h u s
p r e p a r e d , sho u l d d r a w in b r e a t h slowly, a n d then
p r o d u c e t h e sounds b y a neat, r e s o l u t e a r t i c u l a
t i o n or str o k e o f t he g l o ttis, u p o n t h e b r o a d
I t a l i a n v o w e l A ( a ) . If t h i s m o v e m e n t be p r o p e r l y
ex e c u t e d , t h e s o und w i l l c o m e o u t b r i g h t a n d
r o u n d . . . The g l o t t i s is p r e p a r e d f or a r t i c u l a
ti o n by c l o s i n g it, w h i c h c a u s e s m o m e n t a r y a c c u m u
l a t i o n of a i r below; a n d it is th e n o p e n e d b y a
su d d e n a nd v i g o r o u s stroke, s i m i l a r t o t h e a c t i o n
o f the lips w h e n s t r o n g l y e m p h a s i z i n g t he l e t t e r P.
(A r t o f Singing, P a r t I , 11.)'^
t h e o r y of g l o t t a l a t t a c k in his l a r y n g o s c o p i c o b s e r v a t i o n s .
^ ^ R i c h a r d Mill e r , E n g l i s h , F r e n c h , G e r m a n a n d I t a l
ian T e c h n i q u e s o f Singing: A S t u d y in N a t i o n a l T o n a l P r e - '
f e r e n c e s a nd H o w T h e y R e l a t e to F u n c t i o n a l E f f i c i e n c y (Me-
tuchen, N e w Jersey; S c a r e c r o w P ress, 1977), 1-6.
^ % e r e a f t e r , r e f e r e n c e s to all m a t e r i a l a p p e a r i n g in
p e d a g o g i c a l s e c t i o n s of th i s w o r k w i l l be c i t e d in t wo ways.
M a t e r i a l d r a w n direct-ly f r o m w r i t i n g s a nd m e t h o d s o f t he
p a r t i c u l a r t e a c h e r w i l l be c i t e d in p a r e n t h e s e s in t he text.
M a t e r i a l d r a w n f r o m all o t h e r t y p e s of p u b l i c a t i o n s for
c o m p a r a t i v e p u r p o s e s a nd a d d i t i o n a l i n f o r m a t i o n w i l l be
c i t e d in footnotes.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
32
he stated:
The i n t e n s i t y of the s o u n d c a n o n l y d e p e n d on
t h e q u a n t i t y of a ir w h i c h goes to e a c h sharp
ex plosion. I s a y s h arp e x plosion, as an e x p ress
co ndition: the g l o t t i s sho u l d c l o s e i t s e l f p e r
f e c t l y after e v e r y vi b r a t i o n ; for if the air found
a c o n s t a n t pass a g e , as in the n o t e s o f falsetto,
t h e n the g r e a t e s t m o v e m e n t s of t he glottis, a n d
t h e g r e a t e s t w a s t e of air, w o u l d p r o d u c e p r e c i s e l y
t h e w e a k e s t notes. ( " O bservations," 409.)
C o n t r o v e r s y c o n c e r n i n g t h e cou p de g l o t t e a b o u n d e d
m o s t v o c a l o p p o n e n t s w e r e a p p a r e n t l y P a r i s teachers, chief
papers. W h i l e K l ein d i d n o t d e f e n d t he co u p de g l o t t e
in d e t a i l e d terms, he b e l i e v e d t h a t M a u r e l a t t a c k e d the
c o n c e p t f r o m a v i e w p o i n t of m i s u n d e r s t a n d i n g and m i s d i r e c t i o n ,
a nd e x a g g e r a t e d its u s e in singing.
T wo ye a r s later in H i n t s o n S i n g i n g , t he s e c t i o n on
g l o t t a l a t t a c k w a s e n l a r g e d to fu r t h e r su p p o r t the c o u p de
^ ^ H e r m a n n Klein, T h i r t y Y e a r s of M u s i c a l Li f e in
London (New York: The C e n t u r y Co., 1903), 370-371.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
33
a p p e a r e d to c o n t r a d i c t by a d d i n g t hat t h e r e sh o u l d be o n l y
gl o t t e is a n e c e s s a r y p r e r e q u i s i t e for the d e v e l o p m e n t o f
ot h e r ar e a s of sin g i n g technique.
Registration
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
34
" d i f f e r e n t I d i n d s of v o i c e s . . . w h e t h e r it be che s t
b e l c anto p e s r i o d in p a r t i c u l a r spent a gr e a t am o u n t of
m a y be used. (A C o m p l e t e T r e a t i s e , xxvi.)
^^William J a m e s Henderson, E a r l y H i s t o r y of S i n g i n g
(London: Lccgmans, G r e e n and Co., 1921), 28-29.
74 Drsy, 112-125.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
35
of a 13th;
bu t n o r m a l l y shou l d be m u c h m o r e r e s tricted:
A p p a r e n t l y the t e r m f a l s e t t o - h e a d w a s in u s e by
(A C o m p l e t e T r e a t i s e , xxv.) He s u b s e q u e n t l y sp l i t the
T r e a t i s e , xxxi.)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
A c c o r d i n g to H e r m a n Klein, t he f a l s e t t o was an a r c h a i c
e ncompassing:
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
37
used the f o l l o w i n g d i a g r a m to s u m m a r i l y d e s i g n a t e r e g i s t e r
extents: (A C o m p l e t e T r e a t i s e , xxxii.)
ne/j’
f t/iices chest
1 1
■fa^S etto
UMeM’
s ,/0ices ,--b£±i---
che^T
d e s c r i p t i o n o f the c o n t r a - b a s s r e g i s t e r as u s e d b y the
that of c u r r e n t v o i c e s c i e n t i s t s are c o m p a r a b l e . (A
tion c o n c e r n e d i n s p i r a t o r y voice, or p h o n a t i o n as ai r is
G a r c i a c l o s e d the s e c t i o n on r e g i s t r a t i o n w i t h a
at lea s t hi s c u r i o s i t y in the p h y s i o l o g y of vo c a l r e g i s
tration:
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
A c c o r d i n g to the physio l o g i s t s , t he sounds are
p r o d u c e d w h e n the air c o n t a i n e d in the lungs exits,
by the r e s u l t of its ac t i o n on the lo w e r ligam e n t s
of th e glottis. T h e re d u c t i o n of the v e ntricles,
the r e d u c t i o n of t h e c a p a c i t y of t h e l a r y n x and
the t e n s i o n of the w a l l s of the voc a l tub e adapt
t h e m s e l v e s to the c o n t r a c t i o n and p r o g r e s s i v e
t e n s i o n of the vo c a l ligaments. U n t i l the present,
o n l y the p r o d u c t i o n of the chest r e g i s t e r has bee n
e x p l a i n e d b y these p rinciples. T he f a l s e t t o - h e a d
r e g i s t e r ha s been t r e a t e d o n l y imperfe c t l y ; that
of t h e c o n t r a - b a s s has not been studied. (A
C o m p l e t e T r e a t i s e , xxxv.)
T h e n e x t m a j o r d e v e l o p m e n t in G a r c i a ' s th e o r y of
a c o m p l e t e l y c l o s e d glottis, in c l u d i n g the i n t e r c a r t i l a g i -
pressure:
T h e f a l s e t t o wa s a l s o f ound to be p r o d u c e d w i t h a
c r i c o a r y t e n o i d m u s c l e s r e m a i n i n g inactive. D ue to ac t i o n
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
39
v o c a l l i g a m e n t s a n d an acc e l e r a t i o n of t h e i r m o v e m e n t
greater.("Observations," 403-405.)
to the p h y s i o l o g y c u r r e n t l y a s sociated w i t h f a l s e t t o p r o
duction. It has b e e n e s t a b l i s h e d that the c r i c o t h y r o i d
m u s c l e be a r s the chi e f r e s p o n s i b i l i t y for f a l s e t t o p r o
duction. See L u c h s i n g e r an d Arnold, 75.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
In the 1856 A r t o f S i n g i n g G a r c i a d r e w upo n the
Mémoire for i n t r o d u c t o r y m a t e r i a l on r e g i s t r a t i o n an d
w o r k as it a p p e a r e d in t h e A r t of S i n g i n g .
Some n e w m a t e r i a l on gl o t t a l a c t i o n in u p p e r
is c o m p a r a b l e to tha t w h i c h p h y s i o l o g i s t s c u r r e n t l y d e s
at the t ime by c r u d e i n s t r u m e n t s , c l a i m e d v i b r a t i o n s at
78zemlin, 195-196.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
TaUe o f Scczlet fo r the differaU tnJlivcUed Voicet.
Taisciu). Hea
(Basae-Taille.) .
\^irauina. , t
(Haota-Cootra. )}?ig ^
FaUeoo. Head.
F I G U R E 1: GARCIA: R E G I S T E R RA N G E S F O R E A C H V O I C E C L A S S I
F ICATION. F r o m Garcia, A r t of Singing, Par t I , 9.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
42
G arcia's c o n c l u s i o n s on t he m e c h a n i s m and u se of
n o t e s can be p r o d u c e d w i t h n e a r l y as m u c h fac i l i t y b y b a r i
Ye a r s later, in H i n t s on S i n g i n g , G a r c i a ' s o p i n i o n s h ad
The u n i f i c a t i o n of the v a r i o u s q u a l i t i e s of e a c h
v o i c e reg i s t e r into an i n s t r u m e n t of q u a l i t y c o n s i s t e n t
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
43
In m e n he found the c h e s t r e g i s t e r to p r e d o m i n a t e th r o u g h
To a c c o m p l i s h this u n i f i c a t i o n , Gar c i a a d v i s e d
si n gers to be g i n in c h e s t v o i c e a nd use s u s t a i n e d n o t e -
b y - n o t e v o c a l i z a t i o n w i t h t h e c o u p de g l o t t e u n t i l all
g e n e r a l l y weak, he r e c o m m e n d e d a t t a c k i n g on t h e cl e a r e r
lower no t e by a slur. F o r e q u a l i z a t i o n a n d b l e n d i n g of
be e x e r c i s e d j u d i c i o u s l y a n d s p a r i n g l y and a l w a y s a p p r o a c h
ed as a par t of a r a p i d v o c a l i z i n g p a t t e r n r a t h e r than by
^^This t e r m is a
t imbre." See p. 55.
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44
to r e q u i r e o n l y a few days, a f t e r w h i c h co n c e n t r a t i o n on
— ID-WD— ® ^ ---
an d head, he r e c o m m e n d e d u s e of the ph a r y n g e a l c o n f o r m a
p r a c t i c e of the notes
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45
15.)
Hints on S i n g i n g wer e d e v o t e d to p r o g r e s s i v e u n i f i c a t i o n
d i f f e r e n c e b e i n g k e y t r a n s p o s i t i o n s as needed. The
first e x e r c i s e s in b o t h wor k s c o n s i s t e d of a l t e r n a t e l y
(A r t of S i n g i n g , 15; H i n t s , 21.)
J0- o'p-
w h i c h i n c l u d e d all d i a t o n i c i n t e r v a l s in the m i d d l e of
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
etc.
etc. etc.
Progressive s c a l e w i s e p a s s a g e s w e r e d e s i g n e d to b u i l d
J J'c.
S i n g i n g , 17.)
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U-
The n e x t st e p w a s to n e g o t i a t e a s c e n d i n g a n d d e s c e n d i n g
18.)
V a r i o u s c o m b i n a t i o n s of s c a lewise p a s s a g e s w e r e followed
b y o r n a m e n t e d s c a l e w i s e passages, a s c e n d i n g a n d desc e n d i n g ,
18 .)
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to "exe r c i s e s of sixteen n o t e s , "
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49
w e l l ha v e be e n a fac t o r i n h e r i t e d f r o m t he Italian t r a d i
a nd P a u l i n e G a r c i a h e r s e l f . W h i l e n o t all of V i a r d o t -
A f t of S i n g i n g , the p r o c e d u r e w a s c o n s i s t e n t w i t h Garcia's.
T he scale w as bu i l t f r o m the b o t t o m up b y p r o g r e s s i v e l y
w e r e f o l l o w e d b y o c t a v e slurs c o m b i n e d w i t h d e s c e n d i n g
scales.
^ I b i d ., 209.
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A r t , its p r o c e d u r e was cons i s t e n t w i t h tho s e of t h e A r t
Res o n a n c e and Vo w e l C o l o r
as r e a l i z e d in his w o r k w i t h vo i c e q u a l i t i e s or timbres.
and i n f i n i t e l y v a r i a b l e c h a r a c t e r w h i c h e a c h register,
m a i n c o n c e r n w a s n o t w i t h the d i f f e r e n t t i m b r e s w h i c h
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51
a harmonica." (A C o m p l e t e T r e a t i s e , x x x v i i i .)
F r o m e x t e r i o r o b s e r v a t i o n s of the larynx, Ga r c i a
f r o m d i f f e r e n t laryn g e a l m o v e m e n t s and c o r r e s p o n d i n g
Th e c h a n g e s in for m w h i c h t h e p h a r y n x can r e c e i v e
b e i n g d u e to t h e a c t i o n of t h e v e l u m and tongue, it
is e s p e c i a l l y to the m o v e m e n t s of these two or g a n s
that the a t t e n t i o n of the s i n g e r should be paid.
(A C o m p l e t e T r e a t i s e , xli.)
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52
(A C o m p l e t e T r e a t i s e , xliv.) The p h y s i o l o g i c a l d i s p o s i
th e o r y of vo w e l m o d i f i c a t i o n in a l ater work.
A t r e a t m e n t of o b j e c t i o n a b l e voice t i m b r e s was
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53
(A C o m p l e t e T r e a t i s e , x l v i - x l v i i i .)
v o i c e is capable;
The 1847 ed i t i o n of P a r t II u t i l i z e d c o n s i d e r a b l y
m o r e detail on the p h y s i o l o g i c a l p r o c e s s e s i n v o l v e d in
m u c h of this m a t e r i a l w a s c o n j e c t u r e a nd some w h a t e r r o n e
W i t h a "veiled" or b r e a t h i e r q u a lity, he a s s o c i a t e d
i soceles triangle, a s o f t n e s s o f t he p h a r y n g e a l t i s s u e s
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54
C o m p l e t e Treat i s e , P a r t I I , 152-153.)
1 , a c c o r d i n g as the glottis p a r t i a l l y or e n t i r e l y
c l oses the p a s s a g e b e t w e e n e x p l osions, it p r o d u c e s
v e i l e d or b r i l l i a n t sounds; 2, t he t ube w h i c h s u r
m o u n t s a nd s u r r o u n d s it also g r e a t l y a f f e c t s t he
q u a l i t y of t h e voice; b y its c o n t r a c t i o n s it g ives
b r i l l i a n c y to it a nd its v/idening volume; 3, the
e p i g l o t t i s a l s o p l a y s a v e r y i m p o r t a n t part, for
e v e r y t ime t h a t it lowe r s itself, and n e a r l y clos e s
the o r i f i c e of th e larynx, the v o i c e g a i n s in b r i l
liancy; and when, on the oth e r hand, it is d r a w n
up, the v o i c e i m m e d i a t e l y bec o m e s veiled.
(" O b s e r v a t i o n s ," 410.)
Th a t G a r c i a ' s t h e o r y of the f o r m a t i o n of q u a l i t i e s
breathiness. The e p i g l o t t i s as a p a r t i c i p a n t in c r e a t i o n
w r i tings.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Garcia's mature theory concerning voice qualities
a p p e a r e d in H i n t s on S i n g i n g . It fur t h e r c l a r i f i e s hi s
ing f r o m a d j u s t m e n t s of l a r yngeal p o s i t i o n a nd o f sp a c e s
a pp l i e d to re s u l t s o f ac t i o n s w i t h i n the g l o t t i s itself.
"Ringing" r e f e r r e d to s o unds p r o d u c e d f r o m c o m p l e t e
co m p l e t e gl o t t a l c l o s u r e a nd th e r e s u l t i n g p r e s e n c e of
T he t i m b r e s t h e m selves, d e s c r i b e d as c l e a r or o p e n and
o p p o s i t e d i r e c t i o n s of l a r y n x a n d s o f t palate. In H i n t s
on S i n g i n g v e r t i c a l s ec t i o n s are u s e d to d e s c r i b e the tw o
posi t i o n s , as s hown in F i g u r e 2.
T h e p h y s i o l o g i c a l ca u s e s of the vow e l w e r e i n t e r e s t
Pa r t II h e a t t r i b u t e d p u r e v o w e l s to two m e c h a n i s m s : a l t e r a
tions in t h e l e n g t h a nd d i a m e t e r of t he v o c a l t u b e in
p r o p o r t i o n to l a r y n g e a l and p h a r y n g e a l m o v e m e n t , and
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O p e n — T i m b r e Cl a i r (Bright) C l o s e d — T imbre Sombre (Dark)
F I G U R E 2: GA R C I A : M O V E M E N T S OF T HE L A R Y N X A N D SOFT P A L A T E
IN R E L A T I O N T O V O C A L T I M B R E S . F r o m Garc i a , H i n t s , 11-12.
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57
m o d i f i c a t i o n s w h i c h the tube r e c e i v e s in p r o p o r t i o n to
to n g u e move m e n t s . (A C o m p l e t e T r e a t i s e ^ P a r t 1 1 ^ 4-5.)
to be one of m u t u a l d e p e n d e n c e :
A approxi m a t e s to o
E appro x i m a t e s to eu in F r e n c h
I approxi m a t e s to u in F r e n c h
0 a p p r o ximates to u in Ital i a n (H i n t s , 12.)
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58
B a s s e s s hould b e g i n to round g e n t l y at
l?0 r-
an d tenors at
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In Pa r t II is f o u n d G a r c i a ' s f i r s t sy s t e m a t i c d e l i n e a t i o n
of a t h e o r y of v o w e l m o d i f i c a t i o n . G e n e rally, he r e c o m m e n d
ed m o d e r a t e a n d p r o g r e s s i v e r o u n d i n g of the vow e l as t he
specific v o w e l s as follows:
In a s cending:
a p p r o a c h e s l'?l ;
[E] a p p r o a c h e s 1 6] , th e n T p J ;
fyi'l a p p r o a c h e s f / 3 w i t h o u t the h elp of the lips;
a p p r o a c h e s [w ] .
In d e scending, t he v o w e l s are b r i g h t e n e d b y a r e v e r s e p r o
[ul approaches ;
r P] approaches .
(A C o m p l e t e T r e a t i s e , Par t I I , 7-8.)
Ga r c i a ' s p e d a g o g i c a l a p p r o a c h to v o i c e q u a l i t i e s
jaw. He w a r n e d a g a i n s t o p e n i n g t h e m o u t h too m u c h o r t o o
the i m p o r t a n c e of t he loose, r e l a t i v e l y u n i n v o l v e d j a w in
^ ^The e x a c t m e a n i n g is unclear. C y J c a n n o t be
s u c c e s s f u l l y p r o n o u n c e d w i t h o u t l i p rounding. See p. 60.
87
See p. 60.
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50
ease a n d c l a r i t y to v o c a l p r o d u c t i o n , such p r o c e d u r e s
to the o t h e r w h i c h r e s e m b l e t h e b a r k i n g of a dog." (A
the sing e r c a r e f u l l y a n a l y z e t h e m e c h a n i s m w h i c h p r o d u c e s
procedure,
. . . he doe s n ot k n o w t h e s e c r e t of k e e p i n g in the
v o i c e the d e v e l o p m e n t and e q u a l i t y w h i c h he would
o b t a i n in simple v o c a l i z a t i o n , a n d he c a n n o t use to
his t aste the p r o p e r t i m b r e for the e m o t i o n he w o u l d
express. (A C o m p l e t e T r e a t i s e , P a r t I I , 2.) _ '
G arcia w a s c o n c e r n e d e n o u g h a b o u t a r t i c u l a t i o n in g e n e r a l
that an e n t i r e c h a p t e r o f P a r t II w a s d e v o t e d to its m e
c h a n i s m and u s e in i n t e r p r e t a t i o n . In t h e s e c h a pters he
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61
dent a l s , l i n g u o - p a l a t a l s , a nd l i n g u o - g u t t e r a l s . (A
t h a t the s t u d e n t be made f u l l y a w a r e of t h e a r t i c u l a t o r y
movements i n v o l v e d in p r o d u c t i o n o f all c o n s o n a n t s in
o r d e r t h a t m o v e m e n t s be r e s t r i c t e d o n l y to "indispe n s a b l e
s i m p l e s t a n d m o s t na t u r a l a c t i o n . " (A C o m p l e t e T r e a t i s e ,
P a r t II, 15.)
Breathing
J e n n y L i n d o n c e r e m a r k e d in h e r c o r r e s p o n d e n c e
t h a t p a s s e d to h i m by his f a t h e r f r o m A n z a n i . ^ ^ If this
T h e c u r r e n t term f or l i n g u o - g u t t e r a l is li n g u o -
velar.
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62
d i a p h r a g m be lowe r e d w i t h o u t a je r k a n d t h a t the c h e s t
w a s n e c e s s a r y for m a l e s i n g e r s . 92 %n H i n t s on S i n g i n g
this m e t h o d w a s c a l l e d t h o r a c i c o r i n t e r c o s t a l b r e a t h i n g
tion. (H i n t s , 4.)
W h a t e v e r the c o n t r a d i c t o r y e v i d e n c e c o n c e r n i n g
H ints o n S i n g i n g w e r e v i r t u a l l y t he same:
In H i nts o n S i n g i n g , h o w ever, t h e e x e r c i s e s o m i t t e d a ny
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63
G a r c i a c o n t i n u a l l y u r g e d t h a t b r e a t h i n g should be a free,
al l o w e d to g r a d u a l l y i n c r e a s e and b r e a t h s b e c a m e less
frequent. (A r t of S i n g i n g , 13-14.) In p e r f o r m a n c e
pe r c u s s i v e att a c k in t he a c c o m p a n i m e n t . (A C o m p l e t e
C o o r d i n a t i o n of t he b r e a t h w i t h p h o n a t i o n w a s an
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
resisting force of the t h r o a t and the lar y n x . "
fo u n d a la c k of c o o r d i n a t i o n to r e sult in t h e sc r o c c o
di v o c e ;, c o u a c or "squawk," w h i c h oc c u r s in t h e c h est
s o p r a n o h e a d voice. If s u p p o r t is n e g l e c t e d f or these
glo t t i s , n a t u r a l l y f o r c e d to c o n t r a c t in o r d e r to p r o d u c e
s u d d e n l y in o r d e r to r e a p p e a r an in s t a n t l a t e r w i t h an
Treatise, P a r t I I , 2 9.) In a l a t e r p a s s a g e h e s u g g e s t
u s e w o r d s w i t h c o n s o n a n t s w h i c h u s e a "light, internal
n o t e to b e at t a c k e d a c c u r a t e l y a n d e f f i c i e n t l y . (A
C o m p l e t e Tr e a t i s e , P a r t II, ,45.) A f u r t h e r c o n c e p t of
c o o r d i n a t i o n w a s that o f t e a c h i n g t he s i n g e r to d i s t i n g u i s h
ar t i c u l a t i o n . Successful s i n g e r s w e r e t h o s e w h o cou l d
^^Klein, T h i r t y Y e a r s o f M u s i c a l L i f e in L ondon,
36.
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Attitudes and A p p r o a c h e s in General
W h i l e no d e s c r i p t i o n s o f G a r c i a ' s g eneral a p
a r rangements, and g e n e r a l p r o c e d u r e s a nd p r i o r i t i e s in
the t r a i n i n g o f voices.
S i n g i n g s t u d e n t s of t h e e a r l y n i n e t e e n t h c e n t u r y
w e r e e x p e c t e d to s p e n d y e a r s in c a r e f u l , methodical p r e
of his g e n e r a t i o n a nd b e f o r e t a u g h t m u s i c i a n s h i p as w e l l
as singing t e c h n i q u e in m e t h o d i c a l a n d o f t e n t i r esome
pe r f o r m a n c e o f bel c a n t o song. G a r c i a p r e f e r r e d to h a v e
^'^ackinlay, 27.
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66
canto aria.
and p r o v i d e d h i s o w n p i a n o a c c o m p a n i m e n t s . ^ ’^ H i s lesson
his i m m e d i a t e o p i n i o n c o n c e r n i n g their q u a l i f i c a t i o n s by
a full m e d i c a l exami n a t i o n .
^ ^ I b i d . , 289.
^^See p. 28-29.
^ ^ M a c k i n l a y , 241.
99i
^Ibid., 239.
lO&T
°Ibid., 114.
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a n d d iction. He t h e n e m p h a s i z e d tha t the stud e n t m u s t
F o l l o w i n g the ex p l a n a t i o n s , s u s t a i n e d - t o n e exerc i s e s w i t h
a n e m p h a s i s on p r o p e r b r e a t h i n g w e r e used. W h e n the
s l o w l y and w i t h c ontrol, he w as r e a d y f o r m o r e a d v a n c e d
m e d i u m of the v o i c e w a s the m o s t s a t i s f a c t o r y p r o c e d u r e
f or a n u m b e r of m o n t h s .103
l ^ ^ Mackinlay, 284.
^ ° ^ I b i d . , 284-285.
l°^Ibid., 219-221.
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68
Marchesi, a nd S t o c k h a u s e n as w e l l . O t h e r areas of s i m i l a r i
w as good, G a r c i a w o u l d not ac c e p t an i n o r d i n a t e a m o u n t of
He r e g a r d e d h i m s e l f on l y as a guide:
Do n o t b e a f r a i d to face a difficulty. M a k e up y o u r
m i n d to c o n q u e r it. I o n l y d i r e c t you. If y o u do a
thi n g badly, it is y our fault, n o t mine. If you do
it well, all p r a i s e to you, not to me. I sh o w pupils
h o w to sing, and the p roper way to study.
104j
^ I b i d . , 289.
105,
^Ibid., 250.
106^
"Ibid., 287.
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III. T HE R E S E A R C H A N D T E A C H I N G P R I N C I P L E S
OF B A T T A I L L E
Biographical Material
C h a r l e s B a t t a i l l e is r a r e l y m e n t i o n e d in c u r r e n t
t r i b u t i o n s wer e e x t r e m e l y i m p o r t a n t to w r i t e r s wh o d e s c r i b
ed n i n e t e e n t h - c e n t u r y a r tists. S t e r l i n g M a c k i n l a y lists
m a t e r i a l c o n c e r n i n g B a t t a i l l e a p p e a r s to be la r g e l y b a s e d
B a t t a i l l e wa s b o r n of a p h y s i c i a n f a t h e r in N a n t e s
^G r a n d d i c t i o n n a i r e u n i v e r s e l d u X I X s i è c l e , 1 8 6 6 -
1890 ed.^ s.v. "Battaille, C h a r l e s A m a b l e ; " La Gra n d
e ncyclo p é d i e ; i n v e n t a i r e r a i s o n n e des sciences, des
l ett r e s et d e s a r t s , £ 1 8 8 5 - 1 9 0 1 ed. J , s.v. "Battaille,
Ch a r l e s A m a b l e . "
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
stud i e d m e d i c i n e in N antes for fiv e y e a r s and w a s a
d e m o n s t r a t o r in a n a t o m y for four y e a r s t h e r e a f t e r . ^
h e r e c e i v e d the B a c h e l o r of S c i e n c e at C a e n and p a s s e d
li v i n g as a d o c t o r of m e d i c i n e w h i l e s t u d y i n g v o i c e in
1848 as S u l p i c e in D o n i z e t t i ' s La fi g l i a de l r e g g i m e n t o .^
^ G r a n d d i c t i o n n a i r e u n i v e r s e l.
^L a G r a n d e n c y c l o p é d i e .
^G r a n d d i c t i o n n a i r e u n i v e r s e l .
^Macki n l a y , 160.
^L a Gr a n d e n c y c l o p é d i e .
^ G r a n d d i c t i o n n a i r e un i v e r s e l .
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71
P o l i t i c a l p r o b l e m s d e l a y e d s u b s e q u e n t performances. In
fact, B a t t a i l l e ' s d e b u t d a t e w a s m a r k e d b y an i n s u r r e c
C l a e s in G r i s a r ' s C a r i l l o n n e u r de B r u g e s , 1852; G a i l l a r d
O p e r a C o m i q u e an d at t he T h e a t r e L y r i q u e w e r e Osmin in
a n d th e i r o r i g i n a l c asts m a y b e f o u n d in F e l i x Cle m e n t
an d P i e r r e Larou s s e , D i c t i o n n a i r e d e s o p e r a s (Paris:
La r ousse, 1857).
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
o p e r a t i c roles w a s t h a t of R o c c o in B e e t h o v e n ' s F i d e l i o
in this series.
ted as "a m a r v e l o u s i n s t r u m e n t w i t h a tr u l y e x c e p t i o n a l
d e p t h . H e wa s a c c l a i m e d for his a b i l i t y as a d r a m a t i c
ac t o r w h o co u l d p o r t r a y b o t h b u f f o a nd mor e serious ro l e s
w i t h g r e a t facility. T he H i s t o i r e de 1 'Opera-C o m i q u e
B a t t a i l l e be g a n te a c h i n g at the C o n s e r v a t o r y in
1851 a n d c o n t i n u e d to do so w h i l e he p u r s u e d his s i n g i n g
t he p u r p o s e s of t e a c h i n g and res e a r c h .
Du r i n g t he n e x t nin e y e a r s B a t t a i l l e p u b l i s h e d the
encyclopédie.
^^Clement, 288,
writer.
15'La G r a n d e n c y c l o p é d i e .
^^Soubies, 197. T r a n s l a t e d by t h e wr i t e r .
^^L a G r a n d e n c y c l o p e d i a .
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73
F o r his r e s e a r c h in p h o n a t i o n he r e c e i v e d a p h y s i o l o g y p r i z e
f r o m the F r e n c h A c a d e m y of Sciences.
c h a r g e d w i t h the r e s p o n s i b i l i t y of o r g a n i z i n g and a r m i n g
local t r o o p s . H e d i e d Ma y 2, 1872.^0
B a t t a i l l e 's Pu b l i c a t i o n s
Batta i l l e had i n t e n d e d to p u b l i s h a c o m p l e t e w o r k
o n voi c e c o m p r i s i n g s e v e n v o lumes an d e n t i t l e d De
II. De la p h y s i o l o g i e a p p l i q u é e a 1 'etude du
m é c a n i s m e v ocal (1863)
18,Grand d i c t i o n n a i r e u n i v e r s e l .
^La Gra n d e n c y c l o p é d i e .
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IV. Du iTiecanism vo c a l
ch a n t e u r s et les o r a t e u r s
w a s d e s i g n e d to be a d e t a i l e d r e p o r t on the r e s u l t s of
ed an a d d i t i o n a l m i r r o r to c o r r e c t t h e i n v e r t e d image.
cr e d i t to M a n u e l Garc i a , w h o "laid t h e f o u n d a t i o n s of a
^^Ibid, vii.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
M
3L
2 . h.ûïlcu> Cy
bh hùUùuj cotJe.s
ce' h'>coAlvex CeA/se$.
c2 f lait mirror-
g Likrtffi/^ltsX m i r r o r
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Nouvelles recherches presumed a thorough u n d e r
tion of s u c h an a b u n d a n c e of det a i l e d p h y s i o l o g i c a l
co n t r i b u t i o n of some p r o p o r t i o n w h i c h has l a r g e l y b e e n
overlooked in re c e n t years.
B a t t a i l l e ' s e x t r a c t of N o u v e l l e r e c h e r c h e s a p p e a r e d
in the C o m p t e s r e n d u s of the F r e n c h A c a d e m y of S c i e n c e s
and c o n t ributions;
Th e c o m m i s s i o n a c cords a v e r y h o n o r a b l e d i s t i n c
tion to Mr. B a t t aille, p r o f e s s o r at the C o n s e r v a t o r y
of M usic, for his p h y s i o l o g i c a l an d a n a t o m i c a l r e
sear c h o n the h u m a n voice. W i t h the a i d of a l a r y n
goscope, this o b s e r v e r has c a r e f u l l y stud i e d t h e m o d i
ficat i o n s w h i c h o c c u r at the lips of th e g l o t t i s in
the p r o d u c t i o n o f the c hest v o i c e an d h e a d vo i c e , and
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
has thus c o n t r i b u t e d to the a d v a n c e m e n t of o ur k n o w
ledge of t h e th e o r y of voice.
T h e s e c o n d p a r t of De 1'e n s e i g n e m e n t du c h a n t .
De la p h y s i o l o g i e appli q u é e a 1 'etude du m é c a n i s m e v o c a l ,
stated his i n t e n t i o n to
^ ^ I b i d . , 1. T r a n s l a t e d by the writer.
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accep t e d as a "practical c r i t e r i o n w h i c h w i l l ser v e as a
m e n t a r y a p p r o a c h to t e r m i n o l o g y e x e m p l i f i e d B a t t a i l l e ' s
c h a p t e r r e l a t e d a d e s i r e to c l a r i f y for sing e r s t h e
p h y s i o l o g i c a l p r i n c i p l e s of N o u v e l l e s r e c h e r c h e s an d
a p p l y them to their a r t .
wa s a re s u l t of B a t t a i l l e 's r e s e a r c h as d e l i n e a t e d in the
p h i l o s o p h y and metho d o l o g y : a p p l i c a t i o n of p h y s i o l o g i c a l
piration; a n d the p h y s i o l o g i c a l d e t e r m i n a n t s of v o i c e
m u c h t e xtual de t a i l to m e t h o d o l o g y .
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Ba t t a i l l e 's _ R e s e a r ch
B a t t a i l l e 's c o n t r i b u t i o n s to k n o w l e d g e c o n c e r n i n g voc a l
u n d e r t h e h e a d i n g s of t h r e e p h y s i o l o g i c a l c i r c u m s t a n c e s
A f t e r d e l i n e a t i n g his o b s e r v a t i o n s of c o o r d i n a t
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d i s a p p e a r in the fal s e t t o register.
3. T o t a l o r p a r t i a l t e n s i o n pl a c e s the f olds in a
s t a t e of v i bration.
4. S i n c e it m a y b e i n c r e a s e d or d e c r e a s e d b y p e r c e p
t i b l e gradat i o n s , (this tension) p e r m i t s the folds
to e n g e n d e r all the pi t c h e s of the h u m a n voice,
f r o m low to high, and r e c iprocally.
5. W h i l e i n c r e a s i n g an d d e c r easing, (this tension)
m ay, for its p a r t , c o m p e n s a t e the effe c t s of i n
t e n s i t y or w e a k n e s s of the air c u r r e n t and perm i t
the i n c r e a s e o r d e c r e a s e of the force of s ound on
e a c h d e gree of t he v o c a l scale.
In r e g a r d to p o s t e r i o r c l o s u r e of the g lottis,
high are p r o d u c e d by c o o r d i n a t i o n of t h e cr i c o t h y r o i d ,
t h y r o a r y t e n o i d , and p o s t e r i o r c r i c o a r y t e n o i d musc l e s .
This a c t i o n a f f e c t s t h e mass, length, and t e n s i o n of the
vo cal folds. See Zemlin, 185-188. B a t t a i l l e 's ex a c t
m e a n i n g c o n c e r n i n g v e n t r i c u l a r t e n s i o n and s u b g l o t t a l
t e nsion is unclear.
^'^According to t h e m y o e l a s t i c - a e r o d y n a m i c t h e o r y
of v ocal produc t i o n , t he voc a l folds a re set int o v i b r a t i o n
by the air s t r e a m from the lungs and the t rachea, n o t b y
te nsion in the folds themse l v e s . Thi s t h e o r y is w e l l -
sup p o r t e d b y research. See Zemlin, 213, and W i l l i a m
Vennard, S inging: The M e c h a n i s m a n d the T e c h n i c , rev. ed.
(New York: C a r l Fischer', Inc., 1967) , 56-57, 240.
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of i n t e n s i t y of sound on e a c h d e g r e e o f the v o c a l
5. The p r o g r e s s i v e a f f r o n t i n g of t h e a r y t e n o i d s m a y
s om e t i m e s o c c u r to the e x t e n t o f the i n f e r i o r
t h ird o f t he i n t ernal a r y t e n o i d surfa c e s , w h i c h
ha p p e n s in the c h e s t r egister, a n d s o m e t i m e s to
the e x t e n t of t he s u p e r i o r t w o - t h i r d s o f t h ese
surfaces, as h a p p e n s in f a l s e t t o regis t e r .
In d i s c u s s i n g the third r e q u i r e m e n t f or v o i c e p r o
ches are d e r i v e d b y m u s c u l a r t e n s i o n w h i c h is c o o r d i n a t e d
this r e q u i r e m e n t w e r e as follows :
1. The p a s s a g e o f an air c u r r e n t w h i c h p o s s e s s e s a
d e s i r e d i n t e n s i t y a nd w h i c h e n c o u n t e r s the v o c a l
l igam e n t s w h i c h are a p p r o x i m a t e d and t e n s e d
causes t h e m to e n t e r in t o v i b r a t i o n .
2. The i n c r e a s e in i n t e n s i t y of t h e a i r c u r r e n t m a y
c o i n c i d e w i t h the e l e v a t i o n o f p i t c h w h i c h is
due to t he t e n s i o n of t h e l i g a m e n t s .
3. For the s ame pitch, the i n c r e a s e in i n t e n s i t y of
the air c u r r e n t causes a w e a k e r t e n s i o n o f the
l igam e n t s a nd a g r e a t e r o p e n i n g o f t h e gl o t t i s
in the rear.
^^Curiously, B a t t a i l l e a p p e a r s t o c o n t r a d i c t his
o wn theory that t he folds are set into v i b r a t i o n by t h e i r
o wn tension. (See p. 80.) In r e g a r d to t he e f f e c t of
subglottal p r e s s u r e on p i t c h - c h a n g e , o n l y a n e g l i g i b l e
rise in p i t c h has b e e n fou n d to o c c u r w i t h l a r y n g e a l
tension held constant. See Zemlin, 190.
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4, S t r e t c h e d in all d irections, the lig a m e n t s
v i b r a t e in the m a n n e r of m e m b r a n e s s t r e t c h e d
in l ike manner.
5. T h e i n t e n s i t y of the sound a n d the a m p l i t u d e of
the v i b r a t i o n s are in dir e c t p r o p o r t i o n to the
i n t e n s i t y o f the a ir current.
voice, p a r t i c u l a r l y in r e g a r d to h is t w o - r e g i s t e r theory,
t h r o u g h o u t b o t h v o l u m e s of De 1'e n se i g n e m e n t du c h a n t .
A l t h o u g h s o m e w h a t i n a c c u r a t e a n d inc o m p l e t e , t he
am ount of a n a t o m y a nd p h y s i o l o g y B a t t a i l l e w a s a b l e to
q u a l i t i e s at length, few r e s e a r c h e r s so c l o s e l y i n t e g r a t
ed d i s s e c t i o n a n d l a r y n g o s c o p i c o b s e r v a t i o n w i t h the st u d y
of the s i n g i n g voice.
^ ^ B a t t a i l l e , N o u v e l l e s r e c h e r c h e s , 83, 98-99.
T r a n s l a t e d b y t h e writer. Current research contradicts
the theo r i e s c o n t a i n e d in p o i n t s 3 a n d 5 above. Contrary
to p o i n t 3 above, it has b e e n p r o v e n tha t v o cal i n t e n s i t y
m a y be r a i s e d b y in c r e a s i n g the air f l o w w i t h c o n s t a n t
v o c a l - f o l d r e s i s t a n c e , and / o r by i n c r e a s i n g v o c a l - f o l d
r e s i s t a n c e w h i l e m a i n t a i n i n g c o n s t a n t a ir flow. The
the o r y in p o i n t 5, w h i l e c o n s i s t e n t w i t h a t h e o r y
p o s t u l a t e d b y M e r k e l in 1873, has b e e n d i s p r o v e n by
rec e n t r e s e a r c h fi n d i n g s w h i c h sh o w t h a t the d u r a t i o n of
c l o s e d p h a s e o f t he v i b r a t o r y cycle i n c r e a s e s w i t h
intensity, a nd the m a x i m u m g lottal a r e a r e m ains e s s e n t i a l
ly constant. S ee Zemlin, 198-204.
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A C a t e g o r i c a l D e s c r i p t i o n of B a t t a i l l e ' s T e a c h i n g
A t t i t u d e s and A p p r o a c h e s in G e n e r a l
ma d e the g r e a t e s t c o n t r i b u t i o n s to p e d a g o g i c a l theory
cia's su c c e s s o r a n d c r e d i t e d h i m w i t h h a v i n g "brou g h t
his pr i n c i p l e s in t h e i r teaching. In r e g a r d to B a t t a i l
le 's De la p h y s i o l o g i e , w h i c h c o n t a i n s m o s t of B a t t a i l l e 's
to w r i t i n g b o o k s o n science; he le a v e s us a b r e v i a r y of
As a t e a c h e r B a t t a i l l e e n d e a v o r e d to e s t a b l i s h a
syst e m b a s e d on the p h y s i o l o g i c a l f a c t s w h i c h he h a d e s
tablished in N o u v e l l e s r e c h e r c h e s . He d e c r i e d t hose w h o
^^Arger, "Evolution
Tr a n s l a t e d by the writer.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
he s p o k e h i g h l y of his teacher., but b e l i e v e d t h a t he e s
B a t t a i l l e w a s o b v i o u s l y sym p a t h e t i c to m a n y o f G a r c i a ' s
wa s m u c h m o r e protec t i v e . W h i l e G a r c i a v i e w e d hi s r e s p o n
s i b i l i t y as b e i n g lim i t e d to g u i d a n c e a n d i n s t r u c t i o n ,
(see p. 68 a n d De la p h y s i o l o g i e , 6) . He f u r t h e r b e l i e v
p r o b l e m s c o u l d be solv e d w i t h p h y s i o l o g i c a l p r i n c i p l e s
6-7.)
Attack
As a r e s u l t of his ow n e x p e r i m e n t s and t h o s e of
o t h e r s w h o p r e c e d e d him, B a t t a i l l e r e g a r d e d th e l a r y n x
che s , 54-55.) A l t h o u g h B a t t a i l l e c i t e d no s p e c i f i c p e r
sons or re s e a r c h , some p h y s i o l o g i s t s a p p a r e n t l y h a d r e
c e n t l y c l a i m e d t h a t the l e n g t h of the w i n d p i p e i n f l u e n c
es t he r a i s i n g o r l o w e r i n g of p i t c h in the h u m a n voice.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
85
(N o u v e l l e s r e c h e r c h e s , 55.)
B a t t a i l l e b a s e d his th e o r y o f p h o n a t i o n o n his
ments, h e o b s e r v e d tha t p r o p e r a t t a c k or p h o n a t i o n d e
p r e c i s e l y w i t h b r e a t h effort. He observed t h a t it is
impossible to p r o d u c e a v o c a l sound w i t h t h e g l o t t i s
e n t i r e l y op e n , w h a t e v e r a m o u n t of e x p i r a t o r y a i r force is
c l o s e r t o g e t h e r u n t i l p l a c e d in v i b r a t i o n b y t h e air
t a i l l e *s e x p e r i m e n t s from sl i g h t a p p r o x i m a t i o n o f the
glottis, w e r e n o t e d as well b y G a r c i a in t h e f i r s t
of v o c a l - f o l d v i b r a t i o n b e c a m e m o r e c o m p l e t e a n d e f f i
cient, t he v o c a l s o und w as n o t e d to i n c r e a s e in c l a r i t y
or e c l a t . (N o u v e l l e s r e c h e r c h e s , 32.) In c o n c u r r e n c e
^ ^ S i n c e i n c o m p l e t e c l o s u r e of the g l o t t i s r e s u l t s
in b r e a t h y p r o d u c t i o n , B a t t a i l l e w a s a p p a r e n t l y e x p e r i
m e n t i n g w i t h s u s t a i n e d - t o n e p r o d u c t i o n in p r o g r e s s i v e
d e g r e e s of g l o t t a l closure. See Zemlin, 207.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
w i t h Garcia, B a t t a i l l e t h e r e f o r e n o t e d that a p p r o x i m a
c l o s u r e is in d i s p e n s a b l e for a c c e p t a b l e voc a l p r o d u c
tion. (N o u v e l l e s r e c h e r c h e s , 36.)
j a w du r i n g p h o n a t i o n w e r e c o m p a r a b l e to G a r c i a ' s p r i n c i
D u e to his o b s e r v a t i o n s of t h e d i f f i c u l t y w i t h w h i c h the
d e n o u n c e d the c o u p de gl o t t e a n d "replaced" it w i t h a
t h a t the vocal li g a m e n t s n e v e r be j a r r e d by v i o l e n t
a i r curr e n t is p r o p o r t i o n a t e l y an d m o d e r a t e l y i n c r e a s e d for
e a c h dec r e a s e in t e n s i o n of t he l i gaments.
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vocal ligaments, p r o v i d e d the i n t e n s i t y of the air
curr e n t is increased. ÇPe la p h y s i o l o g i e , 45.
Transl a t e d by the writer.)
p h y s i o l o g i e , 47-48.)
Registration
me n t s of the t h y r o - a r y t e n o i d m u s c l e s w e r e f ound to be
^^Since c o o r d i n a t i o n b e t w e e n glo t t a l m o v e m e n t s a nd
b r e a t h are the basis of this concept, it is t r eated m o r e
fu l l y in the section on coor d i n a t i o n , pp. 110-114.)
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falsetto: V o c a l sound p r o d u c e d b y th e s u p e r i o r
t w o - t h i r d s of the v o c a l l i g a m e n t s .
(De la p h v s i o l o c i e , x\’’iii. T r a n s l a t e d by the
writer)
l e g i t i m a t e l y to e xist in all c l a s s i f i c a t i o n s .
In o r d e r to o b s e r v e t h e l a r y n x in p r o d u c t i o n of
s u s tained l o w n o tes p r o d u c e d b y a r e l a t i v e l y o p e n g l o t
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89
this p r o d u c t i o n , c h a r a c t e r i z e d by v i b r a t i o n s t h r o u g h o u t the
f r o m l o w to h i g h a n d al s o fr o m hi g h to low. (N o u v e l l e s
gl o t t a l a r e a in a line f r o m t h e t h y r o i d a n g l e to a
p o i n t j u s t b e l o w the a n t e r i o r b o r d e r of t he a r y t e n o i d s
th e g l o t t i s a n d b e l o w t h e false v o c a l folds
3. A free bo r d e r , r u n n i n g f r o m t he t h y r o i d a n g l e to the
2. T h e v i b r a t i o n s b e c o m e m o r e r a pid a nd l a r g e r as the
p i t c h is r a i s e d
3. In s i n g i n g f r o m l o w n o t e s to h i g h e r notes, the
f o l l o w i n g notes:
Terror<
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4. In a s c e n d i n g the scale, the v o cal l i g a m e n t s are
5. In s i n g i n g a b o v e the limits i n d i c a t e d a b o v e in c h e s t
g l o t t a l o p e n i n g in t he rear to be r e d u c e d and s i m u l
to b e c o m e smaller
7. A c e r t a i n n u m b e r of l o wer pi t c h e s m a y be p r o d u c e d in
c h e s t v o i c e w i t h a r e l a t i v e l y op e n glottis, b ut t h e s e
sounds lack c l a r i t y
8. The g l o t t i s r e m a i n s r e c t i l i n e a r and t he a r y t e n o i d s
su r faces
9. The s u p e r i o r t h y r o a r y t e n o i d l i g a m e n t s take no p a r t
in s o u n d g e n e r a t i o n ^
10. The v e n t r i c l e s o f M o r g a g n i r e m a i n l i n e a r
s t r a i g h t e n e d a n d b e c o m e less c o n c a v e a n d its d e p t h
44
B a t t a i l l e * s ex a c t m e a n i n g is u n c lear. " S uperior
t h y r o a r y t e n o i d l i g a m e n t " a p p a r e n t l y r e f e r s to some
in t r i n s i c l a r y n g e a l p a r t c u r r e n t l y d e s c r i b e d b y a n o t h e r
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
lessens sl i g h t l y in v o i x s ombre a nd m o r e so in voix
g l o t t a l m o v e m e n t s w h i l e s i n g i n g t he same n o t e a l t e r n a t e
l y in c h e s t and f a l s e t t o a n d w h i l e a s c e n d i n g t h e scale
in fa l s e t t o . His o b s e r v a t i o n s of t h e c h a n g e s w h i c h took
p l a c e l ed h i m to e s t a b l i s h the f o l l o w i n g p h y s i o l o g i c a l
c h a r a c t e r i s t i c s of the f a l s e t t o reg i s t e r :
2 , Th e v i b r a t i o n s b e c o m e smal l e r a n d m o r e r a p i d as the
p i t c h asce n d s
T h e g l o t t i s takes o n a g e n e r a l l y e l l i p t i c a l fo r m
(see F i g u r e 4)
to the f o l l o w i n g notes:
Te/Jor<
c l u d i n g b a r i t o n e s in t h i s c l a s s i f i c a t i o n . )
In a s c e n d i n g the scale, t he v o c a l fo l d s a r e g r a d u a l l y
s t r e t c h e d in t h eir fr e e b o r d e r a n d v e n t r i c u l a r region.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Çorcel
i/I? ch e st
b t h\.
Q \ii c h e s t
f i/\? chest
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
C /A' eldest
iri falsetto
gM i/0 ckest
é'iW fa.?se-tto
a epipIoit('s
j?y \focal 'Çolls
Vestibule o f Ih e ^ Id ttis
J c f dl-Ytepioid caxtilsL^eS
FIGURE 4 - Continued.
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A n t e r i o r - p o s t e r i o r t e n s i o n i n c reases in this m o v e
ment, b u t n o t as m u c h as in t he c h est r e g i s t e r
6. As in t h e c h e s t re g i s t e r , the p r i n c i p a l a g e n t for
p i t c h e l e v a t i o n ab o v e t he a f o r e m e n t i o n e d l i m i t s
the g l o t t a l o p e n i n g is a l s o d i m i n i s h e d
8. The s u p e r i o r t h y r o a r y t e n o i d ligam e n t s ta k e n o pa r t
in t h e g e n e r a t i o n of s o u n d
is c o n t r a c t e d in all d i r e c t i o n s . Its w a l l s a re
lessens s l i g h t l y in v o i x s o m b r e and m o r e so in v o i x
g lottis, b ut c a n n o t a c q u i r e cl a r i t y u n t i l t he car t i -
45-47.)
In cu r r e n t r e s e a r c h c o n c e r n i n g r e g i s t r a t i o n , Ralph Appel-
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
w o r k i n g w i t h several v owel q u a l i t i e s , A p p e l m a n was able
to v e r i f y i n c r e a s e s and d e c reases in v e n t r i c u l a r d i m e n
sions as w e l l .
C h a r a c t e r i s t i c s w h i c h B a t t a i l l e found to be p e
c u l i a r to the c h e s t r e g i s t e r w e r e :
1. T h e r e c t i l i n e a r form of the g l o t t a l op e n i n g
■folds
r e g i s t e r were:
1. A n elliptic
(N o u v e l l e s r e c h e r c h e s , 48.)
n e c e s s a r y for c h e s t voice. A w e a k e r c u r r e n t r e s u l t s in
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
d e s c r i b e d in d e t a i l the s pecific m u s c u l a r m o v e m e n t s
production. (N o u v e l l e s r e c h e r c h e s , 82-83.)
t h e l i g h t e r p r o d u c t i o n o f m e d i u m and hea d r e g i s t e r s as
d e s c r i b e d b y Vennard.'^^ Rubin, w o r k i n g f r o m a ge n e r a l
d e f i n i t i o n of f a l s e t t o as "that p o r t i o n of t h e v o i c e w h i c h
a p p e a r to c o r r e s p o n d to B a t t a i l l e 's d r a w i n g s ^ ^ (see
F i g u r e 4).
W h i l e he r e c o g n i z e d two r e g i s t e r s i n s t e a d of G a r
^^Vennard, S i n g i n g , 67-73.
A H i g h S p e e d C i n e m a t o g r a p h i c S tudy," T h e L a r y n g o s c o p e 70
(1960), 1306.
^ ^ I b i d . , 1305-1324.
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97
w o u l d r e s u l t in the m o s t e f f i c i e n t produc t i o n .
Ba t t a i l l e re c o g n i z e d the n e e d for d e v e l o p m e n t of
W h i l e De la p h y s i o l o g i e in c l u d e d o n l y a few b a s i c e x e r
the e x e r c i s e s B a t t a i l l e u s e d w e r e c a r e f u l l y g r a d u a t e d
a c c o r d i n g to diffi c u l t y , a l t h o u g h p r o b a b l y n o t as m u c h as
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
in g i v i n g the v o i c e su p p l e n e s s a n d power, and e n c o u r a g e s
g i e , 15.) F r e e d o m of t he l o w e r j a w g u a r a n t e e s t h a t the
ex t r i n s i c l a r y n g e a l m u s c l e s w o u l d n o t b e u s e d in the
ra p i d e x e c u t i o n o f v o c a l p a s s a g e s . As p r o o f of this
tr i l l by e m p h a s i z i n g a r e l a x e d l o wer jaw. He s u g g e s t e d
g i e , 64.)
1y I
A n e x e r c i s e ba s i c to B a t t a i l l e ' s m e t h o d for
b l e n d i n g t h e r e g i s t e r s w a s the p o r t de v o i x , or p o r t a
m e n t o , w h i c h a l l o w e d all p i t c h e s b e t w e e n in t e r v a l s to b e
c a u s e it i m p a r t e d a r e g u l a r l y g r a d u a t e d t e n s i o n to the
vocal ligaments, t he p o r t de v o i x w a s fo u n d to be an
I h a v e m a d e the p o r t de v o i x the f o u n d a t i o n
o f e x e r c i s e s to w h i c h I s u b m i t all b e ginners, in
o r d e r t h a t t h e y le a r n to p a s s t h r o u g h all i n t e r v a l s
w i t h surety. To s i n g s l o w l y all n o t e s of the sc a l e
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
a n d to c a r r y the v o i c e w i t h energy f r o m o ne note
to the o t h e r w i t h o u t d r a g g i n g it is the b e s t of
exercises. (De la p h y s i o l o g i e , 19. Translated
b y the writer.)
s c a l e w e r e p r a c t i c e d in l i k e mann e r .
d e v e l o p m e n t of the ch e s t r e g i s t e r d e p e n d e d d i r e c t l y
No f u r t h e r s p e c i f i c a t i o n s of r e g i s t e r l i m i t s w e r e p r o v i d e d
practice the p a s s a g e f r o m c h e s t r e g i s t e r to f a l s e t t o at
t he p i t c h levels w h e r e "t h e m u s c u l a r t e n s i o n is m o d e r a t e d
to be a d v a n t a g e o u s l y e m p l o y e d . " These p i t c h e s he d e f i n e d
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as bei n g f^ to for w o m e n and tenors and e^ to f^ for
training.
Sofr^oS
-'y-j-h----
zr -e-
g l o t t i s was to r e m a i n as o p e n as p ossible:
No m e n t i o n o f f u r t h e r p r o g r e s s i o n of these exerc i s e s wa s
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
c o n t r a d i c t i o n b e t w e e n the upper l imit w h i c h B a t taille
t e n d e d the e x e r c i s e to be a d j u s t e d or sho r t e n e d in
A n o t h e r p h y s i o l o g i c a l p h e n o m e n o n also infl u e n c e d
w i t h w e l l - d e v e l o p e d u p p e r notes u s u a l l y p o s s e s s numer o u s
the m a x i m u m ra n g e s a l l o w e d by the p h y s i o l o g y of an i n d i v i
b o a s t e d of e x t e n d i n g r a nges by gr e a t m a r g i n s and of c h a n g
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F I G U R E 5: B A T T A I L L E ' S RANGES F O R TH E F O U R M A J O R V O I C E
C L ASSIFICATIONS. F r o m De la p h y s i o l o g i e , 62, t r a n s p o s e d
f r o m the original clefs.
for e endeavored fi r s t to d e v e l o p t he f a l s e t t o at t h e b o t
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the lower, w e a k e r not e s of the w o m a n ' s falsetto where
t he y w o u l d be h e a r d l e a s t o f t e n and then to d e v e l o p
t h e i r s t r e n g t h to m a t c h the r e m a i n d e r of t he voice:
(De la p h y s i o l o g i e , 23-24.)
r e g i s t e r too high, B a t t a i l l e b e g a n b y l i m i t i n g t he c h e s t
v o i c e to:
in falsetto. Then, w h i l e t he st u d e n t c o n t i n u e d p r a c t i c
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Battaille had h e r p r a c t i c e t he same notes in c h e s t r e g i s
l le e x t e n d e d t h e s t udy of f a l s e t t o as far as
be f o r e f o l l o w i n g the a b o v e pr o c e d u r e . He w a s m o s t e n t h u
s i a s t i c a b o u t t he r e s u l t s o f this approach:
I o f t e n a m a b l e to r e t u r n to the organ, if n o t t he
l ost f r e s h n e s s a n d power, at least a s u f f i c i e n t
h o m o g e n e i t y and s o l i d i t y for f a c i l i t a t i n g a c o m p l e t e
(vocal) e d u c a t i o n . (D e la p h y s i o l o g i e , 27. Trans
l a t e d b y t h e writer.)
r e p e a t the s a m e n o t e a l t e r n a t e l y in fa l s e t t o a nd chest.
T h e p r o g r e s s i o n of i n t e r v a l l i c r e l a t i o n s h i p s in t h i s e x e r
l o g i e , 64.)
F c-^F
T h e p r o c e s s of b l e n d i n g the r e g i s t e r s is m o s t
on his p h y s i o l o g i c a l o b s e r v a t i o n s o f ch a n g e s in m u s c u l a r
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
105
50.)
V o w e l s a nd V o i c e Q u a l i t i e s
umes. It is p o s s i b l e th a t he h a d i n t e n d e d to t r e a t this
there any m e n t i o n of p h y s i o l o g i c a l a t t r i b u t e s o f v o w e l f o r
mation or of v o w e l m o d i f i c a t i o n .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
106
ed the e x i s t e n c e a n d u s e f u l n e s s of v o i x c l a i r e and v o i x
ta i l l e c o n t r a s t e d the d i f f e r e n t p h y s i o l o g i c a l p r o d u c t i o n s
p i t c h a d j u s t m e n t is la r g e l y the r e s p o n s i b i l i t y of the
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
e n dorse o t h e r v o i c e qu a l i t i e s as b eing c o r r e c t or a c c e p t
Ga r c i a w i t h m a k i n g the m o s t i m portant c o n t r i b u t i o n to r e
description:
"Vocal F r e
q u e n c y and V e r t i c a l L a r y n x P o s i t i o n i n g of S i n g e r s and
Non - s i n g e r s , " J o u r n a l of the A c o u s t i c a l S o c i e t y of
A m e r i c a 58, 5 (November, 1975), 1106.
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108
Breathing
p i r a t i o n for s i n g e r s w a s o u t s i d e his p u r p o s e (N o u v e l l e s
r e c h e r c h e s , 98), B a t t a i l l e p e r f o r m e d an u n p r e c e d e n t e d
cular, in w h i c h the m o v e m e n t s of r e s p i r a t i o n a r e v e r y
diaphragmatic-costal, w h i c h c o n s i s t s o f a sm a l l a m o u n t of
na tions a n d d e s c r i p t i o n s are c o m p a r a b l e w i t h c u r r e n t t e r m
the g l o t t i s is a b l e to m a i n t a i n a n a r r o w o p e n i n g o n l y w i t h
the in t a k e of a i r as doe s a s e n s a t i o n w h i c h p r o v o k e s c o u g h
ing. W i t h l o w e r ri b i n h a l a t i o n the g l o t t a l o p e n i n g is
phragmatic-costal i n h a l a t i o n r e s u l t s in a f u l l y o p e n g l o t
la p h y s i o l o g i e , 36.) In N o u v e l l e s r e c h e r c h e s B a t t a i l l e
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109
w i t h ea s e if d i a p h r a g m a t i c b r e a t h i n g is e m p l o y e d a n d
a g r e a t e r v o l u m e of a ir g a i n e d in a sh o r t e r p e r i o d of
of d i a p h r a g m a t i c - c o s t a l treating: (1) it c o n s i d e r a b l y
p h y s i o l o g i e , 41.)
he first t a u g h t the st u d e n t to b r e a t h e n t i r e l y w i t h
i n h a l a t i o n s c o u l d be t a k e n w i t h c o m p l e t e i n v o l v e m e n t of
. . . If it is r e m e m b e r e d that t he act of si n g i n g
requires considerable development of respiratory
m o v e m e n t s , it is e v i d e n t t hat it w o u l d be i l l o g i
cal t o l i m i t t h e s e m o v e m e n t s to a s i ngle p o r t i o n of
the t h o r a x , a nd th a t it is n e c e s s a r y to invo l v e the
e n t i r e c h e s t , r e s e r v i n g the m o s t e x t e n s i v e a c t i o n
for its l a r g e s t a nd mo s t m o b i l e part, its base.
P a r e n t h e t i c a l l y , it is v e r y c l e a r l y seen in this
c i r c u m s t a n c e h o w p h y s i o l o g i c a l la w s c an b e c o m e i n
f a l l i b l e g u i d e s in the m a t t e r of art. (De 1%
p h y s i o l o g i e , 40-41. T r a n s l a t e d by the writer.)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Co o r d i n a t i o n
It is e v i d e n t that B a t t a i l l e b e l i e v e d his m o s t
to be h i s a p p r o a c h in c o o r d i n a t i n g b r e a t h w i t h p h o n a
Fr o m his d e t a i l e d s tudies in N o u v e l l e s r e c h e r c h e s ,
B a t t a i l l e d r e w fo u r p h y s i o l o g i c a l laws w h i c h b e c a m e the
1. In the v o c a l folds, t h e a m p l i t u d e o f v i b r a t i o n
is in d i r e c t p r o p o r t i o n to the i n t e n s i t y of t he
ai r c u r r e n t and to the a r e a of the v i b r a t i n g
surface
2. T h e l o n g i t u d i n a l t e n s i o n of t h e v o c a l f olds is
in i n v e r s e p r o p o r t i o n to the i n t e n s i t y of the
a i r c u r r e n t for eac h s o und
3. T h e i n t e n s i t y of the a i r c u r r e n t is in i n v e r s e
p r o p o r t i o n to the d e g r e e o f p o s t e r i o r g l o t t a l
o c c l u s i o n for eac h so u n d
4. The i n t e n s i t y of the so u n d is in d i r e c t p r o
p o r t i o n to t he a m p l i t u d e of v i b r a t i o n s a n d to
t he i n t e n s i t y of the a i r current^'^ (De la
p h y s i o l o g i e , 45. T r a n s l a t e d b y the writer.)
T r a n s l a t e d into p r a c t i c a l language, th e s e a x i o m s
me a n t h a t all t he fulln e s s a n d s o n o r i t y d e s i r e d can
be o b t a i n e d f r o m the v o i c e w i t h a m o d e r a t e t e n s i o n
of t h e v o c a l ligaments, p r o v i d e d the i n t e n s i t y of
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
the a i r c u r r e n t is increased. (De la p h y s i o l o g i e ,
45. T r a n s l a t e d by the writer.)
contact. B y i n c r e a s i n g t he a i r c u r r e n t and a p p r o x i m a
to p r o d u c e t he same notes w i t h mo r e c l a r i t y w h i l e u s i n g
basis o f th i s o b s e r v a t i o n w a s as follows:
P r o p o r t i o n a t e l y r e p l a c e t e n s i o n in the v o c a l l i g a
me n t s w i t h e n e r g y of a i r c u r r e n t a nd i n c r e a s e to
the g r e a t e s t deg r e e t he gl o t t a l o p e n i n g w h i c h is
m o s t c o m p a t i b l e w i t h e a c h sound. (De l a p h y s i o l o
g i e , 47. T r a n s l a t e d b y t he writer.)
T h e r e s u l t o f this m e t h o d is a r e l e a s e of exc e s s
pi t c h a d j u s t m e n t s . V e n n a r d n o t e d this f a c t o r to be a
in singing. T he a f o r e m e n t i o n e d e x p e r i m e n t j o f S h i p p and
Izdebski v e r i f i e d that t r a i n e d si n g e r s u s u a l l y u s e a
lowered l a r y n g e a l p o s i t i o n a n d t h e r e f o r e m a k e all p i t c h
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Battaille f o u n d t wo n o t a b l e p h y s i o l o g i c a l r e s u l t s of
o f t h e l a b o r w as t a k e n o v e r b y the e x p i r a t o r y m u s c l e s
a c t i n g as a r e s u l t of d i a p h r a g m a t i c - c o s t a l b r e a t h i n g .
(De la p h y s i o l o g i e, 48.)
T o t e a c h t he m e t h o d of c o m p e n s a t i o n , Battaille
r e t u r n e d to the e x p e r i m e n t a l p r o c e d u r e he w a s following
the s t u d e n t w a s u s i n g d i a p h r a g m a t i c - c o s t a l b r e a t h i n g ,
gl o t t i s as o p e n as possi b l e . If t h e r e s u l t i n g sou n d
w h i c h r e s u l t e d fr o m c l o s i n g the p o s t e r i o r p a r t of the
g l o t t i s w h i l e m a i n t a i n i n g the f r e e d o m o f the e x t r i n s i c
V e r y soon, however, t h e y we r e a b l e to si n g t h r o u g h t h e i r
r a nge w i t h m u c h less t e n s i o n i n t h e v o c a l l i g a m e n t s th a n
before. As a result, m o r e m u s c u l a r f a c i l i t y w a s m a d e
range. T h i s p r o c e d u r e a l s o r e s u l t e d in an e a s e of.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
113
t h i s d i f f i c u l t y to be so p r o n o u n c e d in som e f e m a l e v o i c e s
t h i s d i f f i c u l t y to be due to an e xcess o f m u s c u l a r c o n t r a c
49-51.)
of m o d e r a t i n g t e n s i o n w i t h i n the l a r y n x in p r o p o r t i o n to
i n c r e a s e d b r e a t h p r e s s u r e f r o m l ow n o t e s to h i g h e r n o t e s
u n t i l the e n t i r e v o c a l r a n g e w a s p r o d u c e d in t h i s m anner.
e s t a b l i s h e d b e t w e e n the ac t i o n s of t h e b r e a t h a n d the
im p o r t a n t to G a r c i a also, but it w a s n o t as f u n d a m e n t a l
64.) W h i l e B a t t a i l l e r e c o g n i z e d some n e c e s s a r y d i f f e r
e n c e s o f a p p r o a c h w i t h in d i v i d u a l s tudents, his t e a c h i n g
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114
m a y ha v e b e e n h is e m p h a s i s on the m e t h o d o f c o m pensation.
A l t h o u g h i t s p h y s i o l o g i c a l basis w a s s o m e w h a t inaccurate,
t h i s a p p r o a c h to f r e e d o m a nd c o o r d i n a t i o n of the vocal
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
IV. THE TEACHING PRINCIPLES OF MARCHESI
Biographical Material
a p p r o a c h i n g the h e i g h t of their t e a c h i n g ca r e e r s in
F r a n c e and Ge r m a n y , r e s p e ctively. A c c o r d i n g to M a c k i n -
f o r e m o s t t e a c h e r s of t h e i r time in th e i r r e s p e c t i v e
countries.
A l t h o u g h A r g e r r e g a r d e d Batta i l l e m o r e h i g h l y t han M a r
M a n u e l G a r c i a w a s e x e r t i n g an impr e s s i v e a m o u n t of i n f l u
e n c e on n i n e t e e n t h - c e n t u r y v o cal teaching.
M a r c h e s i w a s b o r n M a t h i l d e G r a u m a n n in F r a n k f u r t -
a m - M a i n in 1821, the d a u g h t e r of a w e a l t h y m e r c h a n t .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
F e l i c e Ro n c o n i (1811-1875) in the ci t y of her b i r t h . ^
c o n t i n u e d to o f f e r her co u n s e l w h e n n e e d e d .^
N o d e s c r i p t i o n s of M a r c h e s i 's v o i c e ha v e be e n
ba r i t o n e S a l v a t o r e M a r c h e s i a n d t o g e t h e r they s a n g o p e r a
®Ibid., 162.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
117
i n g p o s t at t h e V i e n n a C o n s e r v a t o r y . ® A c c o r d i n g to M a r
h u s b a n d at the b e g i n n i n g o f t h eir s t a y in V i e n n a an d
of h e r f a c u l t i e s to teaching. The on e e x c e p t i o n w a s an
s i n g e r on sho r t n o t i c e as D o n n a E l v i r a in t he f i n a l e of
n i a l p e r f o r m a n c e c o n d u c t e d b y F ranz L i z s t . ®
de p a r t m e n t e s t a b l i s h e d her r e p u t a t i o n as a t eacher. In
C o l o g n e C o n s e r v a t o r y in 1865 a n d in 1868 r e s u m e d h e r p o s i
t i o n in 1878 b u t r e m a i n e d in V i e n n a a n d t a u g h t p r i v ately.
in 1913.^*^ H e r remi n i s c e n c e s , fi r s t p u b l i s h e d as A u s
B a k e r ' s B i o g r a p h i c a l D i c t i o n a r y of M u s i c i a n s , 5th
ed., s.vl "Marchesi, M a t h i l d e G r a u m a n n . "
^Mathilde March e s i , M a r c h e s i a n d M u s i c : P a s s a g e s
f r o m the L i f e of a F a m o u s S i n g i n g T e a c h e r (New York:
Ha r p e r and Broth e r s , 1897) , 93-94.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
M u s i c in 1897 (see n. 9). She l e f t m a n y v o l u m e s of
v o c a l e x e r c i s e s a nd vocal i s e s , so m e o f w h i c h c o n t i n u e to
s t u d i o to b e c o m e o u t s t a n d i n g p e r f o r m e r s : Emma Calve
h e r d a u g h t e r Bl a n c h e M a r c h e s i ( 1 8 6 3 - 1 9 4 0 ) . Harold
(1877-1933)
Marchesi's Publications
c h e s i h ad lit t l e s c i e n t i f i c b a c k g r o u n d a n d a t t e m p t e d no
11 ,
M a t h i l d e Mar c h e s i , A us m e i n e m L e b e n (Düsseldorf:
F. Bagel, 1888).
^^ I n t e r n a t i o n a l C y c l o p e d i a o f M u s i c a n d M u s i c i a n s ,
10th ed., s.v. "Marchesi, M a t h i l d e G r a u m a n n . "
^^Ha r o l d R o s e n t h a l , Two C e n t u r i e s of O p e r a at
C o v e n G a r d e n (London: Putn a m , 1957) . S ee s e p a r a t e
e n t r i e s for the p e r s o n a l i t i e s m e n t i o n e d .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
119
h e r s e l f to e s t a b l i s h i n g a s y s t e m of t e a c h i n g suited to her
w e r e d e v o t e d m o r e to i n s t r u c t i o n and i n v o l v e m e n t in vocal
a r t t h a n to w r i t i n g s a b o u t t h e m e c h a n i s m of v ocal pro d u c -
r e d m e t h o d i c a l ex e r c i s e s w h i c h w e r e o f t e n unin t e r e s t i n g .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
120
d e f i n e d d i f f e r e n t l y in v o c a l w riting. She a p p a r e n t l y
r e g a r d e d e x e r c i s e s as b a s i c i n t r o d u c t o r y uni t s d e s i g n e d
c o m p a r i s o n in F i g u r e s 6 an d 7. A n o t h e r term, "etude,"
w a s appl i e d to l o n g e r v o c a l p i e c e s w h i c h w e r e m o r e m u s i
a nd were g r a d u a t e d a c c o r d i n g to v o c a l and m u s i c a l d i f f i c u l
ty/^
It is u n c e r t a i n w h e n M a r c h e s i be g a n p u b l i s h i n g he r
Un i o n C a t a l o g o f A m e r i c a n l i b r a r y h o l d i n g s c o n t a i n onl y
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
4-
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
F I GURE 7: MAR C H E S I : P O R T A M E N T O V O C A L I S E . Fr o m Marchesi,
Th e o r e t i c a l a n d P r a c t i c a l V o c a l M e t h o d , 47. U s e d by p e r -
mission.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
a p p r o x i m a t e d a t e s an d it is a l m o s t c e r t a i n t h a t these l i
opus li s t e d in t h e N a t i o n a l U n i o n C a t a l o g are p r o v i d e d
Opus 1
E x e r c i s e s é l é m e n t a i r e s g r a d u e s p o u r le d é v e l o p p e m e n t de
la voix, op. 1. N e w York: E. S c h u b e r t h a nd Co.,
Opu s 2
V i n g t - q u a t r e v o c a l i s e s p o u r s o prano ou m e z z o - s o p r a n o avec
a c c o m p a g n e m e n t d u e piano, op. 2 . Berlin: R ies and Erle r ,
n.d.
Si n c e p u b l i s h e r s of all the oth e r e d i t i o n s listed
are A m e r i c a n , it is a s s u m e d t h a t thi s e d i t i o n is the
earliest. T h e o t h e r editi o n s carry d a t e s o f / l 8 7 ? 7
to 1888. T h i s o p u s w a s d e s i g n a t e d as an i n t r o d u c t o r y
set to Op. 6, w i t h the i n t e n t i o n tha t it be m a s t e r e d
b e f o r e Op. 6 w a s attempted.
Opus 3
^^T h e N a t i o n a l U n i o n Catalog: P r e - 1 9 5 6 I m p r i n t s ,
559 vols. (London: M a n s ç l l , 1974), 371: 50-53.
V o c a l i s e s fo r S o p r a n o or M e z z o - S o p r a n o , ed. J. H. C ornell
(New York: G. S c h i r m e r , 1884).
^*^0p. 3 is c u r r e n t l y p u b l i s h e d as T w e n t y - F o u r
V o c a l i s e s for S o p r a n o (New York: B e l w i n - M i l l s , n.d.).
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Opus 4
Opus 5
L ' A r t du chant; 24 v o c a l i s e s é l é m e n t a i r e et p r o g r e s s i v e s
p o u r m e z z o - s o p r a n o ou c o n t r a l t o , op. 5. Leipzig:
B. Senfl, 1870 .
Opus 6
L ' A r t d u chant: 24 v o c a l i s e s p e r f e c t i o n n e m e n t du m é c a n i s m e
de la v o i x p o u r m e z z o - s o p r a n o ou c o n t r a l t o c o m p o s é e s
et d é d i é à G. R o s s i n i I L e i pzig: B a r t h o l f Senff,
{câïTTQ^.
A n o t h e r F r e n c h e d i t i o n and an E n g l i s h e d i t i o n are
also listed.
Opus 7
Opus 8
Opus 9
St udies of a g i l i t y for m e z z o - s o p r a n o w i t h I t a l i a n w o r d s in
v a r i a t i o n form.
O p u s 10
Opus 11
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Opus 12
D i x - h u i t v o c a l i s e s a d e u x v o i x p o u r inezzo-soprano et
c o n t r a l t o , op. 12. Vienna: C. A. Spina, n.d.
O p u s e s 14, 16, a n d 18
Opu s 21
Opu s 22
Opus 24
T w o o f f e r t o r i e s w i t h L a t i n words.
Opus 25
Tw o A v e M a r i a s w i t h L a t i n words.
O pus 26
S t u d i e s of a g i l i t y for s o prano w i t h I t a l i a n w o r d s in
v a r i a t i o n form.
21 are c u r r e n t l y
p u b l i s h e d as Th e A r t of Singing, Boo k I: E l e m e n t a r y and
G r a d u a t e d E x e r c i s e s (New York: B e l w i n - M i l l s , n.d.); and
T h e A r t of Singing, B o o k II: T h i r t y V o c a l i s e s f or M e z z o -
So p r a n o (New York: Belwi n - M i l l s , n.d.).
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Opus 30
L ' A r t du chant, p e r f e c t i o n n e m e n t du m é c a n i s m e de la
voix; T r e n t e v o c a l i s e s p o u r inezzo-soprano o u s o p r a
no, op. 3 0 . Boston: O l i v e r D i t s o n and Co., f l 9 0 ? J .
O pus 31
Opus 32
Opus 33
O pu s 36
D i x - h u i t no u v e l l e s et u d e s de style, m o y e n n e d i f f i c u l t é ,
pour soprano ou inezzo-soprano, op. 3 6 . N e w York:
G. Schirmer, 1902.
A n i n d i c a t i o n of M a r c h e s i ' s l o n g e v i t y is fou n d in
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
127
e a c h set of v o c a l i s e s was d e s i g n e d to b e p r o g r e s s i v e
dual student.
a r e d i r e c t e d t o w a r d the f u n d a m e n t a l s o f v o c a l production.
T h e s e sets p r o v i d e s h o r t e r e x e r c i s e s d e s i g n e d to help
n i n e t e e n t h - c e n t u r y Ita l i a n opera.
In a d d i t i o n to h er m a n y v o c a l i s e s , in at least
^ ^ M a t h i l d e ^ M a r c h e s i , ed., S a m m l u n g d e r b e l i e b s t e n
K o l o r a t u r - A r i e n f u r S o p r a n (Leipzig; C.F. Pete r s , [I88lj ).
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
128
of these c a d e n z a s w e r e w r i t t e n fo r a s p e c i f i c p erson^®
H a r p e r 's
Ba zaar 33 (September 8 1900): 1187-90, (September 15):
1235-8, (September 29): 1367-9, (October 13): 1507-10,
(October 27): 1619-21, (November 10): 1742-5, (December 8):
1875-8, (December 22): 2025-9, 2166-9; 34 (January 4
1901): 49-52.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Cadunzii écrite pour V.'"'’Melba.
F I G U R E 8: M ARCHESI: C A D E N Z A W R I T T E N F O R N E L L I E MELBA.
For i n s e r t i o n in "II dolce suono" (The "Mad Scene")
fr o m A c t II of Doni z e t t i ' s L u c i a di L a m m e r o o r . From
Marchesi, Var i a n t e s et points d ' o r g u e , 51.
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130
n u m b e r of her a v a i l a b l e bo o k s of v o c a l i s e s , M a r c h e s i 's
p r i n c i p l e s of t e a c h i n g m a y be studied.
A Categorical Description
o f M a r c h e s i 's T e a c h i n g
At t i t u d e s and A p p r o a c h e s in G e n eral
More information is r e c o r d e d c o n c e r n i n g M a t h i l d e
de s e r v e s some analysis.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
131
1908): However, an a p p r e n t i c e s h i p p e r i o d w a s b e l i e v e d
a nd who w e r e a w a r d e d c e r t i f i c a t e s upo n a c h i e v e m e n t of
T h e success of this p r o c e d u r e p r o b a b l y c o n t r i b u t e d to
h e r advo c a c y of p u b l i c e x a m i n a t i o n s and c e r t i f i c a t i o n of
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
t e a c h m a l e students. F o r this reason, she left the m e n
Some d i f f e r e n c e of o p i n i o n a p p a r e n t l y e x i s t e d c o n
p o s s e s s e d a g r e a t deal o f f a i t h in the a b i l i t y of k n o w
l e d g e a b l e t e a c h e r s to c o r r e c t a f a u l t y i n s t r u m e n t (see
An a t t r a c t i v e appea r a n c e , t he g i f t s of the m u s i c i a n ,
q uick n e s s o f concep t i o n , and the p o w e r of r e p r e s e n
tation, t o g e t h e r w i t h r e q u i s i t e s of r e l a t i v e l y m i n o r
importance, a goo d ear, a s o u n d a n d r i c h vo i c e of e x
t ended compass, a d d e d to an a r d e n t d e s i r e to b e c o m e
an a r t i s t — s u c h is the e s s e n t i a l e q u i p m e n t of t h o s e
who w o u l d t r a v e l th e fair, if t h o r n y r o a d that s t r e t
ches out b e f o r e them. ("Singing L e s s o n s , " 33:1187.)
Ma r c h e s i looked fo r q u a l i t i e s w h i c h w o u l d d i s t i n g u i s h
orchestra, and d r a m a t i c c o n t e x t to e n h a n c e h e r p e r f o r m a n c e .
B l a n c h e M a r c h e s i , S i n g e r 's P i l g r i m a g e (Boston:
Small, Maynard, a n d Co., 1923; r e p r i n t e d . , N e w York:
Da Capo Press, 1978), 39.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
be f i n i s h e d in languages, m u s i c i a n s h i p , and i n t e r p r e t a
l i m i t e d a b i l i t y in a n y of t h e s e a r e a s w e r e a d v i s e d to
seek o t h e r fields:
W h e n i n t o n a t i o n is u n c e r t a i n , the v o i c e small
as to c ompass, or worn or d i s p l a c e d t h r o u g h o t h e r
m e t h o d s ; w h e n t he o u t ward a p p e a r a n c e is d i s p l e a s i n g
and the disposition gloomy or re s e r v e d — I u n
h e s i t a t i n g l y a d v i s e the p u p i l a g a i n s t the ch o i c e
of an o p e r a t i c career. ( " S i n g i n g L e s s o n s , " 33:1189.)
h a v e u s e d t h e m as a basis for n e g a t i v e c r i t i c i s m of h er
If t h e r e e ver was a t e a c h e r w h o w as f o r t u n a t e
it w as M a r c h e s i . Imagine h a v i n g M e lba, Eames, Gard e n ,
Calve, a n d all the o thers c o m e to y o u for training.
T h e y w e r e all h a l f - t r a i n e d a l r e a d y , a n d m o r e than
that, t h e y had the voice . . . w i t h o u t th a t any
t r a i n i n g is useless. M e l b a she lef t alone. Melba's
v o i c e w a s p e r f e c t l y p l a c e d a n d M a r c h e s i w a s smart
e n o u g h n o t to tam p e r w i t h it.
M a r c h e s i was m o s t c o n s e r v a t i v e a b o u t the e a r l y
t r a i n i n g o f g i r l s w h o e n v i s i o n a s i n g i n g career. Like
s t u d y b e f o r e t he a ge o f s e v e n t e e n o r eight e e n . The t e a c h e r
is s u f f i c i e n t a n d th a t the v o i c e is s t rong e n o u g h to c o p e
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
134
r u a r y 1908); 3J
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135
O n c e M a r c h e s i h a d c a r e f u l l y c h o s e n her students
h e r b y M a n u e l Garcia:
id e a l s to be indispen s a b l e .
W h e n p l a c e m e n t w as secure, the r e g i s t e r s w e r e u n i t e d t h r o u g h
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
136
be p r a c t i c e d by beginners, be c a u s e this e x e r c i s e r e q u i r e s
^^Marches
M e t h o d , Op. 31.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Con g razia (Gma-fnlli/)
1 1 —
11
'1 f J . t 1
T ' r * ÿ ’ ..
F I G U R E 9: M A R C H E S I : STUDIES U S I N G G R U P P E T T O S A N D M O R D E N T S .
F r o m T h i r t y V o c a l i s e s for H i g h or M e d i u m Voice, Op. 3 2 ,
48; a nd T w e n t y - F o u r V o c a l i s e s for S o p r a n o ^ Op. 3 ;. 39.
U s e d b y p e r m i s s i o n of B e l w i n M i l l s P u b l i s h i n g C orp.,
M e l v i l l e , N e w Y o r k 11746.
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138
o r d e r o f p r e s e n t a t i o n of exercises for t h e v a r i o u s c a t e
w h i l e G a r c i a c o n c e n t r a t e d on the several t y p e s of
t r i l l s an d t h e i r s t y l i s t i c empl o y m e n t in t h e r e p ertoire,
M a r c h e s i w a s m o r e c o n c e r n e d w i t h the c a r e f u l v o c a l d e v e l o p
m e n t of a c l e a n trill:
T h e o n l y w a y to a c q u i r e a good t r i l l is to
p r a c t i c e it in time, w i t h the same n u m b e r of n o t e s
to e a c h beat. In the beg i n n i n g it s h o u l d be p r a c t i c
e d slowly, b u t as the v o i c e gains in s u p p l e n e s s the
s peed m a y be i n c r e a s e d in c o r r e s p o n d i n g p r o p o r t i o n .
To a v o i d f a t i g u e fema l e v o ices m u s t c o m m e n c e p r a c t i
c i n g th e t r i l l in t he m e d i u m register. ^''Questions, "
24 (October 1907): 2 J
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139
q u e n t l y r e c o m m e n d e d by M a r chesi to be m a s t e r e d first
Sloui
M a r c h e s i p r e f e r r e d that her e x e r c i s e s al w a y s be
a nd e q u a l i z a t i o n of the r egisters w e r e m a s t e r e d w i t h
t hese c a r e f u l p r o c e d u r a l factors w e r e p a s s e d to M a r c h e s i
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
t r a i n i n g m a y be f o u n d in R o s sini's a c k n o w l e d g e m e n t of
M Y D E A R M A D A M E M A R C H E S I , — If I ha v e d e l a y e d
t h a n k i n g y o u for the fl a t t e r i n g d e d i c a t i o n of y o u r
24 V o c a l Studies, you must k i n d l y e x c u s e me; t he
state o f m y h e a l t h has h i n d e r e d me. Bra v i s s i m a ,
Madame Marchesi! You r Exercises, w h i c h I h a v e g o n e
t h r o u g h w i t h the grea t e s t interest, n o t onl y d i s p l a y
a t h o r o u g h k n o w l e d g e of the h u man voice, b u t a re
w r i t t e n e l e g a n t l y and clearly. They c o n t a i n e v e r y
t h i n g t h a t is r e q u i r e d for the d e v e l o p m e n t of an art
w h i c h f o r so lon g I have seen trea t e d as if it w e r e
a q u e s t i o n of s t o r m i n g a b a r r i c a d e . M a y yo u r
i n t e r e s t i n g w o r k pr o v e use f u l to students, w h o n o w
ad ays s e e m to h a v e strayed f rom the r i g h t path.
P r a y c o n t i n u e to te a c h the fine Italian method;
it e x c l u d e s n e i t h e r expre s s i o n n or d r a m a t i c effect,
w h i c h u n f o r t u n a t e l y is b e c o m i n g m o r e a nd m o r e a
q u e s t i o n of lungs, and this, too, w i t h o u t the
n e c e s s a r y s t udy t hat m a kes it v e r y easy!
I remain, d e a r madame, y o u r s gratefully,
39
G. R o s s i n i .
M a r c h e s i 's a d m o n i t i o n s c o n c e r n i n g p r a c t i c e h a b i t s
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141
33:1876-77.)
ed the g e n e r a l m u s i c a l e d u c a t i o n o f h er s t u d e n t s a s w e l l
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solfeggio, s i g h t - singing, an d r h y t h m i c a w areness d e v e l o p
p rocedure:
H o w m a n y b e g i n n e r s a r e t here t o - d a y in this
class? A d e e p c o n t r a l t o ,two h i g h sopranos, one
d r a m a t i c soprano, a n d two mezz o - s o p r a n o s . Attend
c l o s e l y to the i n s t r u c t i o n imparted, not m e r e l y
h e e d i n g that a d d r e s s e d to y o u r s e l v e s and i n t e n d e d
to d i r e c t l y a d v a n c e y o u r studies, b u t to all, in
o r d e r that, shou l d c i r c u m s t a n c e s compel y o u to
teach, you m a y t h o r o u g h l y u n d e r s t a n d the fi r s t
instruction, the f o u n d a t i o n of singing, as w ell
as the rules of d e c l a m a t i o n , pronunci a t i o n , etc.
In the last le s s o n I h a d so m a n y e x p l a n a t i o n s to
off e r that it w a s i m p o s s i b l e to hav e mor e t han
one pu p i l sing; I hope, h owever, that you h a v e
i m p r i n t e d in y o u r m e m o r y w h a t I tol d you c o n c e r n
ing the singer's beari n g , breath i n g , o p e n i n g of
the mouth, and so on. I w i l l f i r s t pr o c e e d w i t h
m y small bu t w e l l - n o u r i s h e d l i ttle contr a l t o
that sang in the f irst lesson. Sta n d upon the
platform, y o u n g lady, p l ease, and begin. What!
Yo u w i s h to sing s t a n d i n g n e a r me, at the p i a n o ?
You say you did so w i t h y o u r f o r m e r teacher?
This I ca n n o t permit. If y o u sta n d behi n d m e I
c a nnot see if y o u o p e n y o u r m o u t h properly, if
you m a k e grimaces, if y o u ra i s e y o u r e yebrows
(as, unhappily, m a n y do) u n t i l t h e s e touch the
skull; in a w o r d I c a n n o t w a t c h y o u r bearing.
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Quick, c l i m b u p o n the p l a t f o r m a n d lose no time;
there are fiv e m o r e y o u n g ladies here that m u s t
e ac h h a v e a g o o d lesson. Now, do not cry! I do
n o t like tears. There, t h a t w i l l do: yo u are
courag e o u s , I see: a rea l Spartan. ("Singing
L e s s o n s , " 33:1743.)
W h e n b a s i c v o c a l d e v e l o p m e n t had b een a c c o m p l i s h e d
pa r a t o r y c lass t h e d e c i s i o n w a s a l s o m a d e as to w h i c h
ises w e r e r e t a i n e d fo r st u d y in th e p r e p a r a t o r y class.
w e r e taught. W h i l e M a r c h e s i w a s n e g a t i v e a b o u t the r e
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144
L o h e n g r i n , E v a in Die M e i s t e r s i n g e r , E l i s a b e t h in
T a n n h a u s e r , and Senta in D e r f l i e g e n d e H o l l a n d e r .
d r e w students.
Attack
Wh i l e her t e r m i n o l o g y u n d e r w e n t some s l i g h t m o d i
term "emission" in r e f e r e n c e to p h o n a t i o n a n d a t t a c k of
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
C O N C E R T C L ASS
(a) E l e g i e ......................................... M a s s e n e t
(b) A i r de " T e r s e " .................................. H a n d e l
Mis s F l o r e n c e G a u (Grahamstown. S o u t h A f r i c a ) ,
a nd M. Co u r r a c e , V i o l o n c e l l i s t of t he G r a n d
Opera
F I G U R E 10: R E C I T A L P R O G R A M O F M A R C H E S I ' S O P E R A A N D C O N C E R T
C L ASSES; DECEMBER, 1900. F r o m "Singing L e s s o n s , " 33:2026.)
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O P E R A CLASS
FIGURE 10— C o n t i n u e d .
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the f o l l o w i n g excerpt, w h i c h w a s to be p r a c t i c e d b y
31, 1.)
- :=^=^- S
,
i n o l o g y for the c o u p de g l o t t e . In o b v i o u s r e f e r e n c e to
the r e c e n t c o n t r o v e r s y b e t w e e n V i c t o r M a u r e l a nd G a r c i a
la g l o t t e , "drawing it t o g e t h e r as the f l u t i s t a nd o b o i s t
t he t e r m r e m a i n e d t h e same.
tis.
'^^This d e s c r i p t i o n ap p e a r s to c o n t r a d i c t the
" sudden a n d e n e r g e t i c a p p r o x i m a t i o n of the li p s of the
g l o t t i s ."
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C o n c e r n i n g the o p e n i n g of the glottis w h e n
a t t a c k i n g th e tone: This n e w discovery, thi s fant a ^
sy o f an o v e r w r o u g h t brain, m u s t be s t e a d f a s t l y
op posed. F o r the c o m p l e t i o n of the tone, th e c l o s
ing o f the glottis, o n the two e dges of w h i c h , as
it is known, the v o c a l c ords lie, is i n d i s p e n s a b l e .
T he e f f i c i e n c y of the v o c a l cords m u s t be i n c r e a s e d
by t h e i r b e i n g d r a w n together, p r o v i d e d a l w a y s tha t
in th e a t t a c k of a tone a h a r d imp u l s e . . . be
s e d u l o u s l y avoided. ("Singing L e s s o n s , " 3 3 :1237.)
in d r a m a t i c c o n t r a s t to B a t t a i l l e 's m e t h o d of c o m p e n s a
r e p l a c i n g t e n s i o n in the v o c a l ligaments w i t h p r o p o r
It is n o t c l e a r w h e t h e r M a r c h e s i was d i r e c t l y r e f e r r i n g
t e n s i o n r e s u l t i n g in the v o c a l ligaments.
1845r-1847 a n d b o t h w e r e t e a c h i n g in P a r i s f r o m 1 8 6 1 -
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149
of her s i n g e r s . B o t h p e r s o n a l i t i e s r e f e r r e d to these
194-196).
Registration
and since p l a c e m e n t va r i e s s o m e w h a t a c c o r d i n g to vo i c e
cl a s s i fication, M a r c h e s i c l a s s i f i e d h er si n g e r s v e r y
A careful a nd a c c u r a t e c l a s s i f i c a t i o n of the
di f f e r e n t voices is u n d o u b t e d l y the e s s e n t i a l
el e m e n t a r y founda t i o n of v o i c e - c u l t u r e and v o i c e -
p r e s e rvation, and the igno r a n c e of thi s f u n d a m e n t a l
p r e c e p t is, no doubt, one of the p r i n c i p a l c a u s e s
of the actual d e cline of the art of song. /["Ques
tions , " 24 (October 1907): 2 JJ
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"clearer" q u a l i t y t h a n d r a m a t i c sopranos. ^'Questions/'
w r o n g l y c l a s s i f i e d or w r o n g l y p l a c e d b y a form e r teacher.
p r e s e n t e d in F i g u r e 11.
a t t e m p t e d h e r m o s t seri o u s p h y s i o l o g i c a l e x p l a n a t i o n s in
J. A. F u l l e r - M a i t l a n d d e s c r i b e s the so p r a n o
sfogato as "a thin, acu t e v o i c e of a som e w h a t v e i l e d
quali t y , " in Grov e ' s D i c t i o n a r y of M u s i c an d M u s i c i a n s ,
5 th ed., s.v. " s f o g a t o , " b y J. A. F u l l e r - M a i t l a n d .
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Contralto Giusto Contraltone
(no h e a d register)
ysi.
Mezzo-Soprano
(This range wa s in d i c a t e d for a m e z z o - s o p r a n o of l i m i t e d
range w hose a c t i v i t é s w ould be l i m i t e d to conc e r t p e r
formance.)
-&
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152
B o t h G a r c i a a n d B a t t a i l l e n o t e d tha t d i f f e r e n c e s in
an d c u r r e n t s c i e n c e has p r o v e n t h a t t h e r e is a di r e c t
r e l a t i o n s h i p b e t w e e n p i t c h and rat e of v o c a l - f o l d v i b r a
tion.^^
Ma r c h e s i a l s o f o s t e r e d a n o t h e r u n i q u e o p i n i o n :
interpretation :
March e s i n e v e r c l e a r l y i d e n t i f i e d the a n a t o m i c a l p o s i t i o n
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153
ing v o i c e s to a c h i e v e a h o m o g e n e o u s q u a l i t y t h r o u g h o u t
in d i c a t o r s of r e g i s t e r cha n g e s in u n t r a i n e d voices.
n a t i o n s of r e g i s t e r limits, w h i l e the y v a r i e d s l i g h t l y
Ma r c h e s i ' s t h r e e - r e g i s t e r c o n c e p t w a s i n e x t r i c
p r e f e r r e d to r e s e r v e th e term f a l s e t t o for a r e g i s t e r
In this aspect, we f i n d a r a t h e r d i r e c t a s s e r t i o n c o n
ce r n i n g the t w o - r e g i s t e r t h e o r y a n d p o s s i b l y B a t t a i l l e
hi m s e l f :
ed sonogr a p h i c a n a l y s e s of e a c h r e g i s t e r and p a s s a g g i o
area w i t h p e r c e p t u a l tests, J o h n L a r g e and Th o m a s M u r r y
found M a r c h e s i ' s p a s s a g g i o areas to be c o m p a t i b l e w i t h
test f i n dings for the c h e s t - m e d i u m a d j ustments. T he
findi n g s als o w e r e c o m p a t i b l e w i t h the th e o r y that d i f
fere n t r e g i s t e r s are p r o d u c e d b y d i f f e r e n t laryn g e a l
adjustments. D a t a f r o m this st u d y on the m e d i u m - h e a d
p a s s a g g i o area w e r e m u c h less s u b stantial, b u t t e n d e d
to s u p p o r t laryn g e a l a d j u s t m e n t in this are a also. See
Jo h n L a r g e and T h o m a s Murr y , "Studies of the M a r c h e s i
Mo d e l for F e m a l e R e g i s t r a t i o n , " J o u r n a l of R e s e a r c h in
Sing i n g 1 (January, 1978), 1-14.
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U p p e r L i m i t s of the C h e s t Reg i s t e r
C o n t r a l t o and M e z z o - S o p r a n o
Soprano
U p p e r Li m i t s of the M e d i u m R e g i s t e r
i / 7) O
A l l voic e s
Some Sop r a n o s o
E m p i r i c i s m , w h i c h in t h e s e days appears to
s t ruggle m o r e than e v e r a g a i n s t all rules of
m o d e r n pe d a g o g y , has p u t in c i r c u l a t i o n , a m o n g
o ther abs u r d i t i e s , th e a s s e r t i o n t h a t the f e m a l e
voice o n l y p o s s e s s e s two regi s t e r s , viz.: C h e s t
and Fa l s e t t o . T h i s g r a v e e r r o r has also b e e n e n
d orsed b y several e m i n e n t m o d e r n p h y s i o l o g i s t s ,
who h a v e p e r s u a d e d t h e m s e l v e s t hat the y have
e s t a b l i s h e d this theory, a f t e r th e i r o b s e r v a t i o n s
wit h the lar y n g o s c o p e , b u t w h o are i n c a p a b l e of
m a k i n g c o m p a r a t i v e e x p e r i m e n t s w i t h their o w n
vocal o rgans. (Op. 21, xiv.)
Cl e a r d e f i n i t i o n o f the li m i t s o f the t h r e e r e
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155
Ma r c h e s i a s c r i b e d m a n y v o c a l faults to erron e o u s
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156
t h e s e e x p e c t a t i o n s w e r e v i e w e d as m i s p l a c e d instrum e n t s :
W h e n y o u hear th a t t he p a s s a g e of the r e g i s t e r s is
qu i t e even, th a t the e m i s s i o n of e v e r y sou n d of yo u r
vo i c e is e a s y a n d n a t ural, t h a t you r i n t o n a t i o n is
perfect, and th a t the w h o l e of the p o s s i b l e r a nge of
the v o i c e has b e e n d e v e l o p e d , then y o u can s a y that
y o u r v o i c e has b e e n p r o p e r l y placed. "Questions,"
25 {February 1909): 3 ^
A p e r s i s t e n t p r o b l e m w h i c h M a r c h e s i e n c o u n t e r e d w a s t hat
in e s s in some notes, a nd t h e c h e v r o t e m e n t w e r e o f t e n d e c l a r
(October 1908): 36 T h e t e r m c h e v r o t e m e n t w a s u s e d by b o t h
M a r c h e s i a nd B a t t a i l l e to de f i n e an o b j e c t i o n a b l e vibrato,
or "bleat." M a r c h e s i b e l i e v e d this p r o b l e m to be c a u s e d
b y r e l a x a t i o n of the e x t r i n s i c laryn g e a l m u s c l e s d u e to
m us c l e s . Obviously, he fel t t h a t h is m e t h o d of c o m p e n
s a t i o n w o u l d p r e v e n t the c h e v r o t e m e n t , if it c o u l d not
^^Battaille, D e la p h y s i o l o g i e , 30-31.
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157
Marchesi's m a j o r o b j e c t i o n to the t w o - r e g i s t e r
n e g l e c t of t he h e a d r e g i s t e r by some t e a c h e r s w h o f eel
th a t it b e c o m e s s t r o n g e r w i t h practice. ^'Questions," 25
cal l y i d e n t i c a l to t h o s e u s e d by G a r c i a (see p. 45 a nd
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
F i g u r e 13). M a r c h e s i ' s exerc i s e wh i c h str e s s e d the c h r o m
f ig u r e s and in c o m b i n a t i o n s w i t h p o r t a m e n t o s (see F i g
b i l i t y m o r e r e a d i l y t h a n singers of o t h e r cl a s s i f i c a t i o n s ,
three-, f o u r - , s i x - , and ei g h t - n o t e f i g u r e s to be e x t r e m e
H e r d i r e c t i o n s for t h e i r p r a c t i c e were s i m i l a r to o t h e r
pr o c edures:
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Port de v o ix chrom atique et dia tonique. I Portam ento in Tones and Semitones.
* 2
1
g t'W ?^
1
J^
r—
' 3 ■'9^ U -f— U— ^— T ■— \=f=i=^
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SCALES.
; T h e voice in its natural stale is as a rule rough, uneven,, heavy, and o f limited compass. Having
secured accuracy of intonation in the attack of each sound (by the stroke of the glottis) the next
task should be the development of volume, power, and compass of the voice, and the blending of
the registers. T iie pupil should nor ac firsc aueinpc lo sing die coiiipicic scale, hut hegh. hj,
practising exercises of two three and four notes, etc, otherwise there is a risk of never succeeding
in any kind of passage.
A ll scales should be transposed throughout the compass of the voice a semitone at a time up and
down, care being taken not to over-exert the extreme limits of the voice ; they should be sung with
perfect equality of length and power as well as with correct intonation of the half tones. When the
descending scale Is out of tune it is because the semitones are too wide.
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F I G U R E 15: M A R C H E S I : A D V A N C E D S C A L E EXERCISES. From
Op. 31, 8, 10. U s e d by p e r m i s s i o n .
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F I G U R E 16: MARCHESI: S CALE E X E R C I S E S F O R LIGHT SOPRANO.
F r o m Op. 21, 16, 19. U s e d by p e r m i s s i o n .
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EXERCISES ON TWO NOTES.
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M
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165
B r e a t h i n g and C o o r d i n a t i o n
C o n s i s t e n t w i t h h e r a t titude t o w a r d n a t u r a l b r e a t h
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e f f i c i e n t p h o n a t i o n on s u s t a i n e d tones:
T h e r e is no o t h e r e x e r c i s e to l e a r n b r e a t h c o n trol
t h a n to inh a l e slowly, and w h e n t h e lu n g s are full
cl o s e the g l o t t i s in a t t a c k i n g the sound, and e x hale
the air.slowly, k e e p i n g t he v o c a l c o r d s t i g h t l y
closed. ^"Questions, " 25 (October 1908): 36.J
A f t e r the student u n d e r s t o o d t he c o n c e p t of n a t u r a l b r e a t h
1907): 3J
respiro ( h a l f - b r e a t h ) , s o m e w h a t q u i c k e r a n d s h o r t e r than
b r o u g h t about b y the s t e a d y i n c r e a s e of a i r d i r e c t e d
t he dominating c o n c e r n w h i c h t he G a r c i a t e a c h e r s had in
re g a r d to attack. If t h e v o c a l folds a r e " t i g h t l y c l o s e d , "
p h o n a t i o n m a y e i t h e r be i mpossible, or, at best, improper,
d ue to excessive tension. See Zemlin, 209.
since c o n t raction of c e r t a i n m u s c l e s of i n h a l a t i o n is
al w a y s neces s a r y in t h e b r e a t h i n g p r o cess.
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167
A final M a r c h e s i a d m o n i t i o n c o n c e r n e d the l i m i t a
In r e g a r d to c o o r d i n a t i o n of b r e a t h m a n a g e m e n t
w i t h gl o t t a l attack, M a r c h e s i wa s not as v e r b a l as Ga r c i a
o r B a ttaille. To M a r c h e s i , u l t i m a t e fine s s e in b r e a t h
r e g i s t e r plac e m e n t , and b r e a t h c o n t r o l as a c o o r d i n a t e d
u n i t be p e r f e c t e d b e f o r e t h e p r o g r e s s i v e a reas of
r e p e r t o i r e a nd p e r f o r m a n c e be attempted. ["Questions,"
25 (April 1908): 3J
R e s o n a n c e and D i c t i o n
W hi l e e x p r e s s i v e c o n t r o l of ti m b r e w a s r e g a r d e d
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168
of a w o r d in a c c o r d a n c e w i t h the s e n t i m e n t to be e x p r e s s e d . "
ch est p l a y s o m e r ole in r e s o n a t i o n as a p a r t of r e g i s t r a
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169
r e g i s t e r p l a c e m e n t and sound v o c a l t e c h n i q u e to s e r v e
fr e e d o m o f t he o r g a n s of p h o n a t i o n is r e q u i r e d b e f o r e the
U n l i k e the o t h e r t wo t eachers, w h o de a l t w i t h l a r y n
position:
The m o u t h in si n g i n g m u s t be o pen in q u i t e a n a t u r a l
way, d e p r e s s i n g the chin, as if ab o u t to p r o n o u n c e an
Ital i a n A. H e r e it is a d v i s a b l e to r e m i n d t h e s tudent
that t h e m o u t h can be o p e n e d o n l y d o wnward, t he upp e r
part b e i n g immovable, hen c e the n e c e s s i t y o f p u s h i n g
down t h e chin. j^'Questions, " 24 (November 1907): 2.J
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170
to a c o n t e m p o r a r y t e a c h i n g p r a c t i c e w h i c h e m p h a s i z e d sing
o b s t r u c t i n g t he tone, he w as not ab o v e d e p r e s s i n g it w i t h
S i n c e co r r e c t m o u t h p o s i t i o n and the I t a l i a n
was p r o v i d e d "for a c c u s t o m i n g t h e pu p i l to p r o n o u n c e t h e
that w h a t M a r c h e s i m e a n t by a flat t o n g u e w a s t o n g u e t i p
w h i c h r e m a i n s down, since a flat p o s i t i o n of t h e b o d y of
the t o n g u e m a k e s v o wel p r o d u c t i o n impossible. S ee pp.
210-213.
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171
v oice, a n d n o t n e g l e c t i n g to co r r e c t the f a u l t s of p r o
c o n s o n a n t s a n d of a ] 1 c o n s o n a n t s at the b e g i n n i n g of words.
enunciate f r e e l y in I t a l i a n w i t h o u t c o m p r o m i s i n g v o c a l
W h e n o n c e a c o m p l e t e m a s t e r y has b e e n o b t a i n e d
o v e r t he m e c h a n i s m of t h e voice, as w e l l as o v e r all
t h e d e g r e e s of power, e x p r ession, a nd of q u a l i t y
a n d c o l o u r of sound t h a t the voc a l o r g a n s c a n p roduce,
a n d w h e n the m o v e m e n t s o f the ton g u e a n d lips a r e
t h o r o u g h l y u n d e r co nt r o l , then the p u p i l c an e a s i l y
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l e a r n t o sing in a n y l anguage, w i t h o u t s a c r i f i c i n g
b e a u t y of s o u n d to c l e a r p r o n u n c i a t i o n of e a c h s y l
lable, or d i s t i n c t p r o n u n c i a t i o n to b e a u t y of sound.
(Op. 31, xvii.)
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V. THE TEACHING PRINCIPLES OF
STOCKHAUSEN
Biographical Material
G e b w e i l e r a n d Str a s s b u r g . ^ A f t e r r e c e i v i n g his e a r l y e d u
1870)
173
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174
an d u n e q u a l l e d de c l a m a t i o n " ^
p e r i o d S t o c k h a u s e n p e r f o r m e d wide l y , b o t h in E n g l a n d and
4 Ibid., 160.
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175
S t o c k h a u s e n a p p a r e n t l y f i l l e d the y e a r s b e t w e e n
e d a t the R h i n e Mu s i c F e s t i v a l in D ü s s e l d o r f in E l i j a h .
In o t h e r f e s t i v a l p e r f o r m a n c e s he sang arias b y B o i e l d i e u
^Alfred Dorffel, G e s c h i c h t e d e r G e w a n d h a u s c o n c e r t e
zu Leipzig: v o m 25 N o v e m b e r 1781 bis 25 N o v e m b e r 1881
(Leipzig: 1884), 142.
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176
T h u s began a f r i e n d s h i p w h i c h ca m e to i n c l u d e in
Stockhausen, and F r a u S c h u m a n n e n t h u s i a s t i c a l l y b e g a n to
c h a m p i o n Brahms' m u s i c a n d to i n t r o d u c e it to t he public.
It w a s the u n a n i m o u s o p i n i o n of all c o g n o s c e n t i
that n one cou l d be c o m p a r e d w i t h £stockhausenJ 7 as
singer of the songs o f S c hubert, S c humann, and
Brahms. It has b e e n said tha t he w a s to Brahms'
songs m u c h as J o a c h i m w a s to Brahms' c h a m b e r
S to c k h a u s e n , who, in turn, i n t r o d u c e d t h e m to co n c e r t
audiences.Some i m p o r t a n t e x a m p l e s of th i s p r a c t i c e
a n d T h e o d o r Bill r o t h : L e t t e r s f r o m a M u s i c a l Friends~hip
( N o r m a n : U n i v e r s i t y o f O k l a h o m a P r e s s , 1957), 17, n.
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177
p u b l i s h e d in 1861, a n d d e d i c a t e d to J u l i u s S t o c k h a u s e n . ^ ^
f r i e n d s p e r f ormed, w i t h F r a u S c h u m a n n or Bra h m s a c c o m
p a n y i n g Stockhausen:
Th e f e e l i n g s w i t h i n the c i r c l e m u s t c e r t a i n l y h ave
b e e n t r i e d in 1863 b y t he f a i lure of B r a h m s to re c e i v e
the p o s t in H a m b u r g as D i r e c t o r of the P h i l h a r m o n i c C o n
a w a r d e d to J u l i u s Stockha u s e n , a p p a r e n t l y d ue to his
im m e n s e p o p u larity, w h i c h m i g h t serve as an a t t r a c t i o n
^^May, L i f e of B r a h m s , 1:283.
16„
G e i r inger, B r a h m s , 74.
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178
1863, he remarked:
ye a r Brahms and S t o c k h a u s e n t o g e t h e r m o u n t e d a v e r y s u c
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tone sang w i t h his pupil, F r a u l e i n Girzi k . ^ ^
to b e c o m e c h a m b e r singer to t h e Kin g of W u r t t e m b u r g at
p e r f o r m a n c e b e f o r e an in v i t e d a u d i e n c e in London. Stock
p a r t y at w h i c h P a u l i n e V i a r d o t - G a r c i a joined S t o c k h a u s e n
as c o n d u c t o r a nd vocal t e a c h e r as w e l l as l i e d e r
singer. In 1874 he s u c c e s s f u l l y c o n d u c t e d se v e r a l B e r l i n
p u b l i s h e d the E n g l i s h t r a n s l a t i o n of S t o c k h a u s e n ' s
Gesangsmethode.
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180
w e r e d e s c r i b e d in the A l l g e m e i n e m u s i k a l i s c h e Z e i t u n g .
S t o c k h a u s e n m o v e d to F r a n k f o r t - a m - M a i n in 1878
t a u g h t o n l y p r i v a t e pupils. His G e s a n g s m e t h o d e a p p e a r e d
A c c o u n t s of S t o c k h a u s e n ' s p e r f o r m i n g a b i l i t y are
tion to c o m m u n i c a t i o n :
hausen, Julius."
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The r i c h b e a u t y o f the voice, the n o b i l i t y of the
style, t he p e r f e c t phrasing, the i n t i m a t e sympathy,
and, n ot t h e least, the i n t e l l i g i b l e w a y in w h i c h
the w o r d s w e r e g i v e n — all c o m b i n e d to m a k e „ h i s s i n g
ing of songs an u n f o r g e t t a b l e e x p e rience.
Th o s e w h o c o r r e s p o n d e d w i t h B r a h m s f r e q u e n t l y m e n t i o n e d
accounts:
I shall n e v e r f o r g e t an e v e n i n g at S t o c k h a u s e n ' s w h e n
he sang D i c h t e r l i e b e to F r a u S c h u m a n n ' s a c c o m p a n i m e n t .
It w a s all so f r esh and sp o n t a n e o u s . I h ad n e v e r
h eard h i m do t hat p a r t i c u l a r cycle, and w a s q u i t e
c a r r i e d ^ a w a y at t i mes by h i s p r o f o u n d s i n c e r i t y a n d
vigour.
his a d m i r a t i o n f or S tockhausen:
I h a v e k n o w n two peo p l e w h o u n d e r s t o o d s o m e t h i n g
of music. O n e of t h e m p l a g u e d h i m s e l f in v a i n for a
life t i m e to l e arn ab s o l u t e pitch. The o t h e r too k n o
pai n s b e c a u s e he k n e w he c o u l d n e v e r a c q u i r e it. One
of t h e m w a s c a l l e d J u l i u s S t o c k h a u s e n ; t he o t h e r —
Ri c h a r d W agner. Still, y o u know, in spite of t h e i r
lack, b o t h h a d some idea o f m u sic!
The c o n t r i b u t i o n s of J u l i u s S t o c k h a u s e n h ad m a j o r
performance. As a teacher, he p u b l i s h e d i m p o r t a n t m e t h o d s
2“ibid.
^ ^ H a n n a h Bryant, t r a n s . , and M a x Kal b e c k , ed.,
J o h a n n e s Brahms: T he H e r z o g e n b e r g C o r r e s p o n d e n c e (London:
J o h n Murray, 1909, 158; and Bark a n , 144.
^ ^ E l i s a b e t v on H e r z o g e n b e r g to Brahms, 13 J u l y
1882. Bryant, 161-162.
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182
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
a n d h e l p e d to s t a n d a r d i z e t heir p e r f o r m a n c e on
c o n c e r t p r o grams. W h i l e he w a s h i g h l y a c c l a i m e d as a
England:
St o c k h a u s e n ' s Publications
p. 180), an E n g l i s h t r a n s l a t i o n by S t o c k h a u s e n ' s p u p i l
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184
A n u m b e r of a r t i c l e s c o n c e r n i n g S t o c k h a u s e n and his
t e a c h i n g a p p e a r in the A l l g e m e i n e m u s i k a l i s c h e Zeitung,
d e v o t e d to d e s c r i p t i o n s o f the c i r c u m s t a n c e s of his c o n t r a c t
d i s p u t e w i t h Raff,'^® a nd r e v i e w s of c o n c e r t s by himself,
y e a r as m a s t e r o f h is o wn singing s c h o o l . T h e latter
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185
He c o r r o b o r a t e d his v i e w s c o n c e r n i n g t he acoustics,
d r a w n f r o m G a r c i a and Ba t t a i l l e , from an i m p o r t a n t w o r k on
th e p h y s i o l o g y of s p e e c h p r o d u c t i o n b y E d u a r d S i evers
(Frankfurt: 1653).
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
by Emma Seiler (d. 1887) , a s i n g i n g t e a c h e r w h o had b e e n
p h y s i o l o g i c a l and f u n c t i o n a l a s p e c t s of v o i c e production.
Th e s e m a t e r i a l s are e m b o d i e d in an i n t r o d u c t o r y s e c t i o n
tion. In t h i s s e c t i o n he a l s o t r e a t e d some a p p r o a c h e s
v o t e d to s p e c i f i c ar e a s of b u i l d i n g t e c h n i q u e and s i nging
styles.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
A Categorical Description
of S t o c k h a u s e n ' s T e a c h i n g
A t t i t u d e s a nd A p p r o a c h e s in G e n e r a l
P u b l i s h e d d e s c r i p t i o n s of S t o c k h a u s e n ' s a t t i t u d e s
found the g r e a t e s t r e a l i z a t i o n t h r o u g h a p e d a g o g i c a l p r o
this s e l f - a d m i n i s t e r e d t e a c h i n g program, in a d d i t i o n to
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
S t o c k h a u s e n p l a c e d great e mphasis up o n the d e v e l o p
m e n t of m u s i c a l i n d e p e n d e n c e from the v e r y b e g i n n i n g of a
m e a n s of d e v e l o p i n g independence. In F r i e d r i c h C h r y s a n d e r ' s
the f o l l o w i n g a s s e r t i o n is e x c e r p t e d f r o m S t o c k h a u s e n ' s
p reface:
I m u s t e m p h a s i z e th a t the b e g i n n e r r a r e l y b e
co m e s m u s i c a l t h r o u g h solo singing of m o n o d i c songs,
lieder, and arias. C h o r a l s i nging l i k e w i s e is not
ideal. The a c c o m p a n i m e n t aids the lieder, w h i l e in
c h o r u s e s the a c c o m p a n i m e n t and the p a r t i c i p a t i o n
of m a n y s i n gers a d d s too m u c h support. Only one proce
d u r e c an t r u l y d e v e l o p ind e p e n d e n t singers: r e p e a t e d
u n a c c o m p a n i e d p r a c t i c e of p o l y p h o n i c p i e c e s w i t h one
sin g e r on ea c h p art.^^
(see F i g u r e 20).
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(^cicr^t>
/T . IT. f
S£>f?rA.At0^
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
figure 20: IMITA T I V E E X E R C I S E F O R H I G H AN D L O W V O I C E . From
Stockhausen, A M e t h o d of S i n g i n g , 30.
in its practice:
^'^Stockhausen, A M e t h o d of S i n g i n g , 10.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
mi, fa, sol, la, ti, a s s u r e d l y brings f l e x i b i l i t y
to the v o c a l m e d i u m . . . in singing by n a m i n g e a c h
n o t e r a t h e r t h a n m e r e v o c a l ization, b e g i n n e r s w i l l
s i m u l t a n e o u s l y e x e r c i s e the ears, lungs, larynx,
an d v o c a l organs. In addition, ins t e a d of fatigue,
m u s c u l a r d e x t e r i t y is assured, and, w h e n the t e a c h e r
is w i l l i n g , th e b e g i n n e r can e xtend s o l f e g g i o to v o c a l
exer c i s e s , e s p e c i a l l y in the m i d d l e voice.
S t o c k h a u s e n a d v o c a t e d that t e a c h e r s return to c e r t a i n
e l e m e n t a r y g r a d u a t e d p r o c e d u r e s utili z e d b y e a r l i e r
hi s t o r i c a l t e a c h e r or p e d a g o g i c a l work to d o c u m e n t t hese
^^ S t o c k h a u s e n , A M e t h o d of S i n g i n g , 15.
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192
r a t h e r t h a n t he a d a p t a t i o n of words to " i n f e r i o r v o c a l i
mentioned, S t o c k h a u s e n string e n t l y o p p o s e d h e r p r a c t i c e of
c l e a r s y l l a b l e s p r o v i d e a r t i c u l a t i o n as w e l l as m u s i c a l
independence :
T h e s o l m i z a t i o n s y l l a b l e s build into t h e e x e c u t i o n
a c l a v i e r - l i k e touch, which, w h e n p r o p e r l y utilized,
must insure distinctiveness. A l m o s t l i k e the keys
of t he organ, ,the sylla b l e s are t he i n t e r v e n i n g
p r i n c i p l e b e t w e e n the w ill and the i n s t r u m e n t .^ c They
are t he b e g i n n i n g of ease in vocal produ c t i o n .
S t o c k h a u s e n al s o b e l i e v e d t he pr a c t i c e of s o l f e g g i o to
be an i m p o r t a n t m e a n s of s t r e ssing go o d c o n s o n a n t and
is t r e a t e d in m o r e d e t a i l in subseq u e n t a n a l y s e s of his
c o n c e p t s of r e s o n a n c e and diction.
S t o c k h a u s e n l i m i t e d s o l feggio e x e r c i s e s to the
^ ^ S a l v a t o r e Mar c h e s i , T w e n t y E l e m e n t a r y and P r o g r e s
sive V o c a l i s e s , Op. 15 (New York: G. S c h i rmer, 1899).
^ ^ C h r y s a n d e r , "J. S t o c k h a u s e n ' s e r s t e r J a h r e s -
b e r i c h t , " 517. T r a n s l a t e d b y the writer.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
since "few b e g i n n e r s h ave eight n o t e s of eq u a l p o w e r in
i n c l u d e a c o m p l i c a t e d tritone, and b e c a u s e it c o n t a i n s
y o u n g g i r l s b e g i n n i n g th e i r training, S t o c k h a u s e n found
t h e f o l l o w i n g h e x a c h o r d s to c o n t a i n the p r o p e r compass:
g^, a^, b^, c^, d^, e^ for the h i g h soprano; e^, f#^,
h e x a c h o r d to be w e l l - s u i t e d to c o n t r a p u n t a l v o c a l e x e r c i s
^ ^Stock h a u s e n , A M e t h o d of S i n g i n g , 10.
^ ^ C h r y s a n d e r , "J. S t o c k h a u s e n ' s e r s t e r Ja h r e s -
b e r i c h t ," 517-18. N o solm i z a t i o n syl l a b l e s w e r e i n c luded
in this description.
^ ^ S t ockhausen, A M e t h o d of S i n g i n g , 18.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
8c - ffr - Jit~- 3"' -
-e- ZT ° ^.
- à:c- — - Mi'h
m: ia! '
of the school e v e n t u a l l y l ed to an i m p o r t a n t se r i e s of
c o n c e n t r a t e d m o s t of her e f f o r t s w i t h b e g i n n e r s on s ight-
ing m u s i c i a n s h i p , he i nvolved h is s t u d e n t s in c h o r a l
a c t i v i t y and p e r f o r m a n c e b e c a u s e of h i s c o n c e r n t hat i m p o r
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195
s e s s i o n s w e e k l y and w a s e n r o l l e d in a p r e p a r a t o r y class
ly t h e p r e p a r a t o r y c lass w a s c o n d u c t e d c o l l e c t i v e l y w i t h all
u n d e r S t o c k h a u s e n privately.
It is a great m i s t a k e to im a g i n e t h a t y o u n g
v o i c e s s hould be c u l t i v a t e d in a d i f f e r e n t w a y for
the stage and for the concert - r o o m ; and w o r s e still
to t h i n k tha t d i l i g e n t p r a c t i s i n g d e s t r o y s the
fresh n e s s of a voice. It is i m m a t e r i a l w h e t h e r the
stage or the c o n c e r t - r o o m is to be the s i n g e r ' s
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
f i e l d of activity: the c u l t i v a t i o n of g t h e v o i c e and
t h e gen e r a l stu d i e s m u s t be the same.
Du r i n g the y e a r s 1881-1883, S t o c k h a u s e n pr e s e n t e d
a n d e v e n i n g perform a n c e s . H is r e s u m p t i o n of t e a c h i n g
to p r o v i d i n g p e r f o r m a n c e e x p e r i e n c e and c h a l l e n g e for m a n y
r e p e r t o r y of G e r m a n lied, w h i l e his c h o i r s p e r f o r m e d a
h a u s e n w a s con s c i o u s of his c o m m u n i t y an d i n v i t e d c o m
added. S t o c k h a u s e n d e l i g h t e d in p r o g r a m m i n g little-known
ge n r e w h i c h were b r o u g h t to F r a n k f u r t by S t o c k h a u s e n for
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197
Attack
W h i l e he a c c e p t e d G a r c i a ' s coup de g l o t t e as a
In the same w a y th a t t he o u t - r u s h i n g a i r m e e t i n g an
o b s t r u c t i o n in t he c a v i t y of the m o u t h p r o d u c e s a
consonant, so the b r e a t h e s c a p i n g t h r o u g h the
n ar r o w e d a p e r t u r e in t he v o c a l c h ink p r o d u c e s a
vowel sound. Compare, for instance, p a a nd a, ^ and a,
ma and a, w h i l e i m i t a t i n g w i t h t he v o w e l a t t a c k
the r e l a x a t i o n of the t e n s i o n s on the lips. It
will then be fou n d that, in o r d e r to si n g w i t h
expression, the v o w e l att a c k h a s to b e q u i t e as
v a r i e d as the c o n s o n a n t attack. The l a t t e r b e i n g
v isible serves to e x p l a i n t he former, w h i c h is
invisible. (A M e t h o d , 9.)
or d i n a t e d action.
S t o c k h a u s e n a l w a y s e m p h a s i z e d that t he c o u p de
glotte mu s t be a c c o m p a n i e d by a l o w e r i n g o f t he larynx.
^^Clara W i r t h - S t o c k h a u s e n , Julius S t o c k h a u s e n ,
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
non-resonant." (A M e t h o d , 9.) T h e exam p l e s are t a ken
fr o m e x e r c i s e s wh i c h S t o c k h a u s e n u s e d to e s t a b l i s h a ttack
and v o w e l p r o d u c t i o n w i t h a s t a b i l i z e d or l o w e r e d larynx.
W h i l e he a c k n o w l e d g e d the h i s t o r i c a l v a l i d i t y
of t h e a p p o g i a t u r a as u t i l i z e d for an attack, a nd q u o t e d
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Method, 15)
Registration
W h i l e S t o c k h a u s e n r e l i e d on the r e s e a r c h of bot h
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
COA/tfa.fic______________oJ-f-ç
, é:
Z7T3FT<
S t o c k h a u s e n s t r e s s e d a m o d e r a t e l y l o w a n d stable
p h y s i o l o g i c a l p r i n c i p l e w a s involved. He t h e o r i z e d that.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
neoLd l'Oie e
' F'theffo
.I 77êI7~
^T-€>- O FAfiff-fû
ys. , ^ea.4
y ' \cktir yput ci Ai^k cl+c '_________ ^ é
•ô o
c A e *T c f o z /T r ^ l- f- c |
l F A ^ ie tt» o-f fep-fA gV/tf t 'o ic e f J
cAfit
client
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
202
-e-
A s a d e m o n s t r a t i o n of r e g i s t e r e v enness, Stock
no t e s c o m m o n to b o t h r e gisters b y u s i n g the f a l s e t t o
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
203
r e c h e r c h e s , 48-49.) U n l i k e G a r c i a and Marchesi, Stock
an i n d i c a t i o n of a c c o m p l i s h m e n t . In the m e s s a di v o c e ,
S t o c k h a u s e n i n s i s t e d on a fix e d la r y n x position. (A M e t h o d ,
he r e c o m m e n d e d p r a c t i c e w i t h the a l t e r a t i o n of registers
c ^ A
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204
7f
[dl —
E5ri
— — !a.y — — —
1— - - -
Jff Ml qO d» fo l Jio Ji 0 /*f,' Jc Ml fo l Jo fû t Jo Jo Jo
F I G U R E 23: S T O C K H A U S E N ' S P O R T A M E N T O E X E R C I S E S F O R T H E M E D I U M
VOICE. F r o m A M e thod, 39.
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c c
In m a n y instances in h i s G e s a n g s m e t h o d e , he u t i l i z e d
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
~Z2P~ etc .
Hei^eAf //fiti'-
etc
e m p h a s i z e d are in F i g u r e 26.
B r e a t h i n g a nd C o o r d i n a t i o n
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
a. F r o m C a n t a t a No. 8 , L i e b s t e r Gott, w a n n werd' ich
sterben, J. S. Bach.
— — 'hr * 1 - — _
/a
3
fentj ’cc*'f -fkt
le ffA i - p e -
— ■ , !< 7fM-/7c — —
d. F r o m S u s a n n a , Handel.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
208
S t o c k h a u s e n w o u l d not a l l o w h i g h chest o r c l a v i c u l a r
M e t h o d , 11.)
fa c i l i t a t e b r e a t h control. He ta u g h t b e g i n n e r s to control
o n l y a small am o u n t of e x h a l e d ai r in s i n g i n g and to
e r r a t i c volumes. (A M e t h o d , 46.)
In re g a r d to c o o r d i n a t i o n of the v a r i o u s parts
of th r e e p r i n c i p l e p a r t s i n v o l v e d in s i n g i n g activity,
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
the q u a l i t y of the vowel, a m i s t a k e so o f t e n m a d e
by beginners. He has n o w l e arnt t h a t it is the w o r k
of the v o c a l c h o r d s d i r e c t e d b y th e ear to cr e a t e
the n e c e s s a r y tensions. (A M e t h o d , 3.)
S t o c k h a u s e n ur g e d that, wh i l e the si n g e r c o n c e n t r a t e s on
resu l t b e i n g be a u t y of expression:
t h e r e b y u n i t i n g two r e g i s t e r s on one p i t c h in c o o r d i n a
t i o n w i t h b r e a t h control. (A M e t h o d , 37.)
R e s o n a n c e and D i c t i o n
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210
of s p e e c h e l e m e n t s in c o l l e g e s a n d s econdary schools.
S t o c k h a u s e n u r g e d t h a t the st u d e n t t h o r o u g h l y u n d e r s t a n d
r e t e n t i o n of l a r y n g e a l freedom.
S t o c k h a u s e n t a u g h t v o w e l p r o d u c t i o n by m e a n s of
p o s i t i o n on vo w e l s o u n d s an d n o t e d v o w e l s and c o r r e s p o n d i n g
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211
r es u l t e d in x - r a y t r a c i n g s w h i c h p r o v i d e a b asis for a
P i g u r e 28, w i t h a c o r r e s p o n d i n g p h y s i o l o g i c a l tracing.
St o c k h a u s e n r e c o m m e n d e d the p r a c t i c e of sin g i n g
learn to d i s t i n g u i s h t h e i r c h a r a c t e r i s t i c s "a c c o r d i n g
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
T H E SINGERS’ ALPHABET.
passive position
of the tongue
Primary Vo w e l Primary Vo w el
(highest position of the tongue). (lowest position of the longue).
deficiencies in v o c a l quality:
Th e p r i m a r y vow e l [uj n e c e s s i t a t e s a lo w e r p o s i
t io n of the l a r y n x w h i c h is f a v o u r a b l e to v o i c e p r o d u c
tion; a n d a g a i n b y the h i g h p o s i t i o n w h i c h the tongue
t ak e s in the fo r m a t i o n of [ i j , the e p i g l o t t i s is
p r o t e c t e d f r o m the p r e s s u r e of the roo t of the
tongue. E x p e r i e n c e also t e a c h e s that w i t h the help
of the open vowels . . . a w e a k v o i c e can be s t r e n g
thened; and b y the clos e d o n e s . . . a har d v o i c e can
a c q u i r e m e l l o w n e s s and roundness. (A M e t h o d , 8-9.)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
p
X A
>
f l u e n c e of vowe l s on v a r i o u s r e g i s t e r s is unpreced e n t e d .
en o u g h to be u s e d as a t e a c h i n g approach, nor at t e m p t e d
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
vow e l In'], then on the h i g h - c l o s e d vow e l [ i ^ ,and
then on the m e d i u m [aJ, it w i l l be f ound that [uJ wil l
pr o d u c e the l east sound, fi j a little more, and f a j the
most; £‘u'3 , b y c a u s i n g a m e m b r a n o i d t e n s i o n of the
vo c a l chords, s uits the so f t e r fal s e t t o register;
Ci] s t r e n g t h e n s it; and [a"} , by i n c r e a s i n g the bulk
of the v i b r a t i n g part, p r o d u c e s the d e s i r e d c hest
voice. (A M e t h o d , 13.)
By s u s t a i n i n g t h e s e t h r e e v o w e l s on one b r e a t h in cal
sona n t s as follows;
F e m a l e Voices:
head-voice head-voice
M a l e Voices:
r e c o m m e n d e d that he b e g i n p r a c t i c e of the m e s s a di v o c e
his method. He i n c l u d e d p r a c t i c e of v o w e l s w i t h d i p t h o n g s
ed larynx. S o m e of t h e s e e x e r c i s e s are p r o v i d e d in
Figure 29.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
m
FI G U R E 29: E X A M P L E S OF S T O C K H A U S E N ' S U S E OF V O W E L S W I T H
V O C A L E X E R CISES. F r o m A M e t h o d , 49, 59, a n d 60.
W h i l e S t o c k h a u s e n d i d not set d o w n a t h e o r y or
sys t e m of v o w e l m o d i f i c a t i o n , as d i d G a r c i a , he n o t e d
He was u n e q u i v o c a l l y o p p o s e d to the u s e o f o p e n v o w e l s
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Such errors are c u r r e n t l y a l l o w e d by toda y ' s Italian
singers. Sin c e t hey think, for example, that in
the u p p e r r e g i s t e r [E] m u s t no t be c overed, their
q u a l i t y is u n a b l e to a t t a i n homoge n a i t y , and the y
s ing s tridently. (Chrysander, " C h erubini's Canons,"
370. T r a n s l a t e d by the writer.)
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
VI: CONCLUSIONS AND RECOMMENDATIONS
FO R F U R T H E R S TUDY
A t t i t u d e s and A p p r o a c h e s in General
a p p a r e n t l y t h e i r d e v o t i o n to careful, t horough p r e p a r a t i o n
teach e r s e m p h a s i z e d the n e c e s s i t y of y e a r s of m e t h o d i c a l
ph ases on r e g i s t r a t i o n a n d vo w e l s w e r e s t r e n g t h e n e d b y the
d e r i v e d h i s own u n p r e c e d e n t e d e m p h a s i s on c o o r d i n a t i o n
217
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
218
f r o m his research, r e sulting in his "method of c o m p e n s a
p h y s i o l o g y is an i m p ortant aid in b r i n g i n g a b o u t c h a n g e in
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
219
Attack
c a n t i n f luence on the d e v e l o p m e n t of a c o n c e p t f or d e
g l o t t i s concept. M a r c h e s i m o d i f i e d the c o u p de g l o t t e , at
m o d e r a t e l y - l o w e r e d la r y n x d u r i n g attack. M a r c h e s i d i d not
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
s p eak to the issue of larynx po s i t i o n .
Registration
Som e i n t e r e s t i n g v a r i a n c e a p p e a r s in the t e r m i n o l o g y
v e r y h i g h e s t no t e s of the range. B a t t a i l l e a nd S t o c k
tion in m a l e voices.
te a chers w e r e g e n e r a l l y in a g r e e m e n t as to the d e f i n i t i o n
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
B at t a i l l e
Marchesi Stockhausen
ri t o ----------- — I----------
MEZZO-SOPRANO
Battaille
St o c k h a u s e n
hSi
b-kr-e-^ rS*-
March e s i
FI G U R E 30: C O M P A R A T I V E R E G I S T E R RANGES.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
chest f a lsetto
No ranges specif i e d .
Stock h a u s e n
No ranges p r o v i d e d for
male voices.
N o ranges specified.
S toc k h a u s e n
B a ttaille
falsetto hea d
No ranges specified.
St o c k h a u s e n
FIGU R E 2 7 — Continued.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
223
r e g i s t e r to ha v e a ra t h e r e x t e n s i v e r a n g e with, of course,
l a p p i n g ranges d i s t i n g u i s h e d b y G a r c i a a nd S t o c k h a u s e n m a y
fo r f a l s e t t o a nd h e a d w e r e d e c i d e d l y d i f f e r e n t , w i t h little
o r n o overlap p i n g .
la p p i n g n o t e d by Stock h a u s e n .
Wh i l e the t e a c h e r s d i f f e r e d in t e r m i n o l o g y and
d e s i g n a t i o n s of r e g i s t e r limits, t h e i r m e t h o d s of a c h i e v
f i r s t e s t a b l i s h e d t he c h e s t voice, t h e n a d d e d n o t e s of the
f a l s e t t o u s ing s u s t a i n e d n o t e - b y - n o t e v o c a l i z a t i o n until
w h i l e h i g h e r notes w e r e a p p r o a c h e d b y r a p i d v o c a l i z i n g
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224
G a r c i a h i m self, b u t r a t h e r a p a r t of the I t a l i a n t e a c h i n g
t r a d i t i o n he i n h e r i t e d f r o m h is father.
B a t t a i l l e 's p r o c e d u r e s for r e g i s t e r e q u a l i z a t i o n
w e r e e v i d e n t l y as t h o r o u g h a nd p a i n s t a k i n g as w e r e Garcia's.
Battaille left f ew s p e c i f i c e x e r c i s e s as e v i d e n c e , b ut
s poke of the p r o g r e s s i v e , t h o r o u g h w o r k n e e d e d to b l e n d
He p l a c e d g r e a t c o n f i d e n c e in the p o r t a m e n t o as a dev i c e
w h i c h i n v o l v e d a l t e r n a t e l y s i n g i n g w i t h ch e s t a n d f alsetto
t r a i n i n g h a d begun, af t e r w h i c h r e g i s t e r s w e r e e s t a b l i s h
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225
of e x e r c i s e s e m p l o y i n g p r o g r e s s i v e l y w i d e r inter v a l s in
r e c o m m e n d e d the p o r t a m e n t o as an a id to r e g i s t e r e q u a l i z a -
S t o c k h a u s e n c o n c u r r e d w i t h m o s t of B a t t a i l l e 's r e
Marchesi, he t a ught a m a n i p u l a t i o n of q u a l i t y to b l e n d
S t o c k h a u s e n joined M a r c h e s i a nd G a r c i a in s t r e s s i n g
the m e s s a di vo c e as a d e m o n s t r a t i o n of r e g i s t e r e v e n n e s s
e ve n t s w h i c h o c c u r in e x e c u t i o n of the m e s s a di v o c e . How
as a m e a n s to that end. An i m p o r t a n t c o m p o n e n t of S t o c k
v o w e l s e x e r t on the r e g i s t e r s .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
226
then e n c o u r a g e d its use b e t w e e n r e g i s t e r s . As a foun d a t i o n
however, S t o c k h a u s e n also u t i l i z e d p o r t i o n s of i m p o r t a n t
Ga r c i a gav e u n p r e c e d e n t e d e m p h a s i s to voi c e q u a l i t i e s
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
227
G a r c i a e x p e r i m e n t e d w i t h the r e l a t i o n s h i p b e tween
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228
d i c t i o n b e i n g u s e d by c o n t e m p o r a r y singers, particularly
in the G e r m a n la n g u a g e . He u r g e d c o n c e n t r a t e d st u d y of
s p e e c h a nd d i c t i o n in co l l e g e and s e c o n d a r y s c h o o l s as
te a c h e r to t r e a t d i c t i o n as a study e l e m e n t a p a r t fr o m
ha u s e n ' s t r i a n g l e w as a s i g n i f i c a n t f o r e r u n n e r of the
v o w e l d i a g r a m s u s e d in c u r r e n t speech study. In c o n t r a s t
te a chers f o u n d th i s r e l a t i o n s h i p i m p o r t a n t e n o u g h to be
B r e a t h i n g and C o o r d i n a t i o n
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
229
a c h i e v e m e n t of p r o p e r b r e a t h i n g w e r e q u i t e simple and
c o r r e c t b r e a t h i n g b e c o m b i n e d w i t h e f f i c i e n t p h o n a t i o n as
s u g g e s t i o n s for s t y l i s t i c b r e a t h i n g p l a c e s w i t h i n long
Bat t a i l l e a p p a r e n t l y b e l i e v e d his m o s t s i n g u l a r c o n
e x p r e s s e d an a w a r e n e s s of B a t t a i l l e 's m e t h o d toward c o o r d i
placement, and b r e a t h c o n t r o l be w e l l - c o o r d i n a t e d b e f o r e
ed co o r d i n a t i o n of b r e a t h w i t h l a r y n x a nd the "cavity of
in b e a u t y of exp r e s s i o n .
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Summation
f o llows :
b r e a t h i n g and b r e a t h control
as o p p o s e d to v o l u m e of sound
f o u n d t h a t the Ga r c i a teachers r e g a r d e d t h e m s e l v e s as a
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
2. Marchesi gave u n p r e c e d e n t e d emphasis to the gro u p c o n
c ept of v o c a l t r a i n i n g and p r o v i d e d v o l u m e s of e x e r c i s
3. S t o c k h a u s e n f o u n d d i c t i o n to be an i m p o r t a n t p r i o r i t y
ed by each teacher.
Recommendations for F u r t h e r S t u d y
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232
de v o t e d m u c h of their w r i t t e n m a t e r i a l to d e t a i l e d s u g
i n t r a - p r o f e s s i o n a l r e l a t i o n s h i p s w h i c h may h a v e bee n
b e t w e e n these teachers.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
SEL E C T E D B I B L I O G R A P H Y
Baker's B i o g r a p h i c a l D i c t i o n a r y of M u s i c i a n s , 5th ed .
S . v . "Marchesi, M a t h i l d e G r a u m a n n , " S t o c k h a u s e n ,
J u l i u s ."
La Gra n d e n c y c l o p é d i e : i n v e n t a i r e r a i s o n n e des s c i e n c e s ,
d e s lett r e s et des a r t s , [ 1 8 8 5 - 1 9 0 1 ed.J S.v.
" B attaille, C h arles A m a b l e ."
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Books
Ar t e a g a , E s t e b a n . R i v o l u z i o n i del t e a t r o m u s i c a l e italiano
(1783-1788). Ci t e d by L e n n o x B r o w n e a n d Em i l Behnke,
Voice, Song, and S p e e c h , p. 5. N e w York: G.P. P u t
n a m ' s Sons, 190?.
N o u v e l l e s r e c h e r c h e s sur la p h o n a t i o n . Paris :
V i c t o r M a s s o n and Sons, 1861.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Denes, P eter B . , and Pinson, E l l i o t t N. The Speech C h a i n :
The Physics and B i o l o g y of Spoken L a n g u a g e .
Baltimore: W a v e r l y Press, Inc., 1963.
H e n d e r s o n , W i l l i a m James. E a r l y H i s t o r y of S i n g i n g .
London: Longman s, Green, and Co., 1921.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Marchesi, Blanche. Sin g e r ' s P i l g r i m a g e . Boston: Small,
Maynard, and Co., 1923; reprint e d . , N e w York: Da
Capo Press, 1978.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Vennard, William. Singing; The M e c h a n i s m a nd the T e c h n i q u e ,
rev. ed. N e w York: Carl Fischer, Inc., 1967.
Zemlin, W i l l a r d R. S p e e c h a nd H e a r i n g Scie n c e : A n a t o m y
and P h y s i o l o g y . E n g l e w o o d Cliffs, N.J.: P r entice-
Hall, Inc., 1968.
P e r i o d i c a l s a nd J o u rnals
"J. S t o c k h a u s e n ' s e r s t e r J a h r e s b e r i c h t ü b e r
seine G e s a n g s c h u l e in F r a n k f u r t a .M ." Allgemeine
m u s i k a l i s c h e Z eitung 16 (10 A u g u s t - 1 7 A u g u s t 1881):
510-520.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
"Editorial: The G a r c i a C e n t enary: The Old Mas t e r . "
Brit i s h M e d i c a l J o u r n a l 1 (1905) . C i t e d by
W i l l i a m H. Woglom, D i s c o v e r e r s for M e d i c i n e , pp.
98-99. N e w Haven: Yale U n i v e r s i t y Press, 1949.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
Thomson, St. Clair. "The H i s t o r y of the L a r y n goscope.
L a r y n g o s c o p e 15 (1905). Cit e d b y W i l l i a m H.
Woglom, D i s c o v e r e r s for M e d i c i n e , p. 89. New
Haven: Y ale U n i v e r s i t y Press, 1949.
Methods, V o c a l i s e s ,
and P e r f o r m a n c e Manu a l s
. A C o m p l e t e Tr e a t i s e o n the A r t of S i n g i n g ,
(excerpts). T r a n s l a t e d b y D o n a l d V. P a s h k e .
P u b l i s h e d b y t h e t r a n s l a t o r , 1970.
_________ . D i x - h u i t no u v e l l e s e t u d e s de style, m o y e n n e
d iffic u l t é , p o u r soprano o u m e z z o - s o p r a n o , Op~i 3 6 .
N e w Y o r k : G. Schirmer, 1902.
_________ , e d . S a m m l u n g der b e l i e b s t e n K o l o r a t u r e - A r i e n
fur S o p r a n . Leipzig: C.F. Peters, 1881 .
Ten Si n g i n g L e s s o n s . N e w Y o r k : H a r p e r and
B r o ., 1901.
Reproduced with permission of the copyright owner. Further reproduction prohibited without permission.
. T w e n t y - F o u r Vocal i s e s for So p r a n o or M e z z o -
S o p r a n o . E d i t e d by J.H. Cornell. New York: G.
Sc h i r m e r , 1884.
. V a r i a n t e s et p o i n t s d 'orgue: c o m p o s é e s p o u r
les p r i n c i p a u x airs du r e p e r t o i r e po u r les e l eves
de ses clas s e s de c h a n t . Paris : Heugel and Co.,
S t o c k h a u s e n , Julius. A M e t h o d of S i n g i n g . T r a n s l a t e d by
S o p h i e Lowe. London: Novello, Ewer, and Co., 1884.
Correspondence
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The N a t i o n a l Un i o n C a talog: P r e - 1 9 5 6 I m p r i n t s . 559 vols.
London; M ansell, 1974, vol. 371.
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APPENDIX I
T R A N S L A T I O N OF T H E RE P O R T ON G A RCIA'S
M E M O I R E SUR LE VOIX H U M A I N E ^
by ^enrij Dutrochet.)
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243
to o ur c o l l e a g u e in a c o u s t i c a l matters, it m u s t be not e d
t r a n s f o r m i n g it into a m u l t i t u d e of d i f f e r e n t i n struments.
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244
only in the last few years. It is set forth for the first
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245
According to th e s e facts, it c a n n o t be d o u b t e d
further c o n f i r m e d b y an o b s e r v a t i o n of G a r c i a w h i c h
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246
^ D u t r o c h e t 's r e p o r t c o n t a i n s n o i n f o r m a t i o n c o n
c e r n i n g specific pitches, vowels, and m e t r o n o m i c settings
w h i c h w e r e u s e d in th is e x p e r i m e n t .
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247
f alsetto v o i c e forms a p a r t i c u l a r r e g i s t e r w h i c h d i f f e r s
It is g e n e r a l l y k n o w n that w h e n the h u m a n v o i c e
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248
it consists;
timbre s o m b r e , ei t h e r in c h e s t vo i c e or f a l s e t t o -h e a d ,
has all o w e d us to w i t n e s s :
In the d i a t o n i c p r o d u c t i o n of pitc h e s f r o m lo w to
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However, w h e n the singer, s till u s i n g timb r e s o m b r e ,
are a e s p e c i a l l y d e s i g n a t e d b y a r t i s t s as the v o i x de
the fingers.
ph y s i o l o g y of voice.
In fact, on 1 June 1 8 4 0 , ^ D i d a y a n d Pe t r e q u i n p r e
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250
or head voice, the human vocal organ may produce the same
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In a d d ition to the two p r i n c i p l e ti m b r e s d e s i g n a t e d
Garcia's assertions.
th i s register u n d o u b t e d l y b e l o n g to a v o c a l i n s t r u m e n t sui
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252
p r o d u c e d by Garcia, it w o u l d be d i f f i c u l t to int r o d u c e
it into chant.
A c c o r d i n g to this a c c o u n t it is e a s i l y seen t h a t
m o d i f i c a t i o n s w h i c h o c c u r and are e s t a b l i s h e d w i t h an
p r o f o u n d l y a s t o n i s h e d at the m u l t i p l i c i t y of m e c h a n i c a l
is capable.
^The r e f e r e n c e h e r e is p r o b a b l y to Gy.
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253
in h is thesis. It w i l l be n e c e s s a r y for us to k e e p an
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APPENDIX II
T R A N S L A T I O N OF A N E X T R A C T F R O M B A T T A I L L E ' S
NO U V E L L E S R E C H E R C H E S ^
PAPER PRESENTED
P H Y S I O L O G I E - New Res e a r c h in P h o n a t i o n ; by C h a r l e s Ba t t a i l l e
is absent, p h o n a t i o n is imp o s s i b l e .
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255
to my re c o l l e c t i o n , the r e s u l t thus o b t a i n e d is al m o s t
a p h o n i a an d is re s t r i c t e d to a v e r y limi t e d series of
c u r r e n t of p h o n a t o r y a i r , and I w i l l summa r i z e e a c h of
m e chanism.
lateral d i r ections.
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256
c r i c o t h y r o i d a r t i c u l a t i o n a l lows a r o c k i n g mot i o n by
muscles, r u n n i n g f r o m b o t t o m to top a n d d i s p o s e d in
v erified by l a r y n g o s c o p i c observation.
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257
of the folds.
B. Res u l t s :
width.
setto r e g ister,
a s tate of vibrat i o n .
4. Si n c e it may be i n c r e a s e d or d e c r e a s e d by p e r c e p
vocal scale.
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258
A. Generating Mechanism:
t i l a g i n o u s p o r t i o n and in a c e r t a i n a r e a of its i n t e r l i g a -
m e n t o u s por t i o n .
ar y t e n o i d mus c l e s .
The c r i c o a r y t e n o i d a r t i c u l a t i o n p e r m i t s the ar y
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259
B. Results ;
inter l i g a m e n t o u s portion.
or high pitches.
5. The p r o g r e s s i v e a f f r o n t i n g of the a r y t e n o i d s ma y
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register, and s o m e t i m e s to the exte n t of the superior two-
III. C u r r e n t of P h o n a t o r y Ai r
into vibration.
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261
Di v e r s e Con s i d e r a t i o n s
F a s c i c u l a t i o n of mu s c l e s ; I cannot e m p h a s i z e enough
falsetto r e gisters.
the c r i c o t h y r o i d s u n i t e w i t h the p o s t e r i o r a r y t e n o i d s to
A p p l i c a t i o n of o b s e r v e d facts to the p r i n c i p l e
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262
t h e i r internal surfaces.
T hi s range va r i e s to a g reat e x t e n t a nd I w a n t to e x p l a i n
why:
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263
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264
registers, s i m u l t a n e o u s l y s u p e r i m p o s e d an d o v e r l a p p i n g
the p h y s i o l o g i c a l laws w h i c h I h a v e e n d e a v o r e d to e s t a b l i s h
ed, and if, on the oth e r hand, due to the increase of the
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265
r egister.
I w i l l explain:
tio n s anew.
Now, by e x p l a i n i n g h o w the c h e s t r e g i s t e r is e x
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VITA
in Voice. F r o m 1964-19 66 he a t t e n d e d S o u t h w e s t e r n
Ba p t i s t T h e o l o g i c a l S e m i n a r y in Fo r t Worth, Texas. He
he e n t e r e d the g r a d u a t e p r o g r a m in voice at L o u i s i a n a
M a s t e r of M u s i c D e g r e e in Vocal P e r f o r m a n c e in D e c e m b e r
of M u s i c at C a m p b e l l s v i l l e College, C a m p b e l l s v i l l e , K e n tucky,
a p o s i t i o n still h e l d in D e c e m b e r 1979.
266
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EXAMINATION AND THESIS R E PO R T
Approved:
EXAMINING COMMITTEE:
Date of Examination:
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