653 pages

History of Vocal Pedagogy


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Beginning in 1564, with the first physiological treatise of Giovanni Camillo Maffei and ending with the remarkable development of solo singing, the Italian dictum ‘chi sa respirare e pronunciare sa cantare’ (He who knows how to breathe and pronounce knows how to sing) has been transformed by science into the most sophisticated and complete vocal paradigm in vocal history.
In this ground-breaking work, noted tenor, teacher, researcher, and operatic director, Joseph Talia, takes us on an inspiring journey through 450 years of history tracing such important topics as the development of voice production and vocal science, the transition from the sostegno system of breath management to the appoggio system, the debate on vocal registers as a purely a glottal phenomenon, and the importance of vocal elements such as posture, messa di voce, portamento, trills, and many other coloratura techniques and ornaments. All of these are analyzed through the overarching framework of human emotions and impeccable aesthetic appeal, remembering always Tosi’s dictum that ‘the heart is the greatest of teachers’.
Within these pages you will find a wealth of knowledge accumulated by the great singing masters of the past such as Bernacchi, Porpora, Tosi, Mancini, the Garcías, the Lampertis, and the Marchesis, as well as the tremendous and assiduous work performed by vocal scientists throughout history by such scientists as Janwillem van den Berg, Vennard, Hirano, Fant, Ingo Titze, and Sundberg to name just a few.
“A History of Vocal Pedagogy” is a vital resource for voice teachers, vocal researchers, serious vocal students, and vocal connoisseurs.



Publié par
Date de parution 18 janvier 2017
Nombre de lectures 1
EAN13 9781922117823
Langue English
Poids de l'ouvrage 4 Mo

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A History of Vocal Pedagogy
A HistoƌLJ of VoĐal PedagogLJIŶtuitioŶ aŶdSĐieŶĐe
Joseph Talia,OAM
First published 2017 from a previously edited and typeset manuscript by: Australian Academic Press Group Pty. Ltd. 18 Victor Russell Drive Samford Valley QLD 4520, Australia www.australianacademicpress.com.au Copyright 2017 © Joseph Talia Copying for educational purposes The Australian Copyright Act 1968 (Cwlth) allows a maximum of one chapter or 10% of this book, whichever is the greater, to be reproduced and/or communicated by any educational institution for its educational purposes provided that the educational institution (or the body that administers it) has given a remuneration notice to Copyright Agency Limited (CAL) under the Act. For details of the CAL licence for educational institutions contact: Copyright Agency Limited, 19/157 Liverpool Street, Sydney, NSW 2000. E-mailinfo@copyright.com.auProduction and communication for other purposes Except as permitted under the Act, for example a fair dealing for the purposes of study, research, criticism or review, no part of this book may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without prior written permission of the copyright holder.
National Library of Australia Cataloguing-in-Publication entry:
Creator: Title: ISBN: Notes: Subjects:
Talia, Joseph, author.
A history of vocal pedagogy: intuition and science / Joseph Talia.
9781922117816 (paperback) 9781922117823 (ebook) 9781922117830 (hardcover)
Includes bibliographical references.
Singing—History. Voice culture—History. Singing—Instruction and study.
Publisher: Stephen May
Final copy editing: Rhonda McPherson
Cover design: Luke Harris, Working Type Studio
Printing: Lightning Source
Foƌeǁoƌd Joseph Talia’sHistory of Vocal Pedagogy: a magnum opus of over 650 pages, is accompanied by his companion piece,Vocal Science for Elite Singers. This labour of love took 15 years to research and compile and thanks to his deep knowledge of his subject will benefit singers well into the future. The author uses a scientific and physiologic framework to analyse historical pedagogies to the Art of Singing from Maffei (1562) and Caccini to Caruso and Pavarotti. Yet because Talia also embraces the protagonists’ flawed humanity and genius, the text serves as a lively biography of the Art of Singing, not just a technical account of diverse pedagogists. The reader is offered an analysis of the first treatise written by Giovanni Camillo Maffei (1562), a gifted physician, lutenist and singer who at the request of his patron, Giovanni di Capua, Count of Altavilla, wrote the first treatise on vocal physiology written by a physician and singer. Talia then details subsequent texts on resonance, ornamentation,passaggiand of course the thorny matter of respiration. He also reveals how the development and popularity of opera demanded vocal schools in Rome, Florence, Milan, Ferrara, Mantua, Bologna, Naples and Venice and hence various pedagogical approaches occurred. The Bolognese School of vocal pedagogy established by Antonio Pistocchi and his student Antonio Bernacchi and the Neapolitan School established by Nicolo Porpora were the most successful and internationally recognized schools. I was especially interested in Talia’s careful analysis of the technical rational that informed Manuel García’scoup de glotteas Garcia’s approach formed part of the training my only teacher, Margaret Nickson, experienced. Manuel García fils was the inventor of the laryngoscope and through his anatomical dissections and experiments, he has gone down in history as the father of the scientific method of voice production. For this he has been lauded and condemned in equal part, but history has proven him to have being a genuine pioneer who made a tremendous contribution to the art of singing including for Australian singers. Amongst the many Australian and New Zealand singers who benefitted from the García/Marchesi School were Nellie Melba, Ada Crossley, Frances Alda, all of whom studied with Marchesi in Paris, whilst Peter Dawson studied with Charles Santley, a García student in London. Joan Sutherland was also taught the Marchesi Method by her mother, and Sister Mary Leo taught the García Method to Kiri Te Kanawa, Malvina Major and Richard Greager. Vocally, I am twice removed from Garcia the younger because my teacher, Margaret Nickson was taught by Arnold Smith who was a Garcia student. I can say that the technique I was taught lead me to great successes and certainly pulled me through the trials and tribulations which are part of any busy singer's career. Margaret Nickson used to say to me ‘Gasteen promise me you'll teach when your career is done’. I would always respond that teaching was of no interest but now I do teach and really enjoy it. Thanks to all I have been able to achieve, I feel an obligation to pass on as best I can what I know about the art of singing. Talia’s amazing study demonstrates the long lineage all classical singers continue. Lisa Gasteen, OA
Aďout the Authoƌ While studying singing, piano and music theory, Dr. Joseph Talia gained valuable experience and early success competing in vocal Eisteddfods, as well as making appearances on television. He was also awarded a scholarship to the Australian National Opera School in Melbourne. He later studied in Milan with Fernando Bandera, Vladimiro Badiali and Aldo Azzali, was engaged to sing Rodolfo in La Boheme and Alfredo in La Traviata at the Teatro Eliseo in Rome, and performed as a concert artist in Milan, Vercelli, and other Italian cities. His repertoire consists of over 50 major tenor roles in operas as diverse as Don Giovanni, La Boheme, Madame Butterfly, Tosca, Il Tabarro, Cavalleri Rusticana, La Traviata, Rigoletto, Il Corsaro, Faust, Carmen, The Merry Wives of Windsor, The Consul, Albert Herring, The Merry Widow, Die Fledermaus, Student Prince and many others. Dr. Talia maintains a successful studio in Melbourne where apart from his regular students, he teaches visiting students from New Zealand, Europe, Japan, China and Korea. He is also in demand as an adjudicator of international competitions, such as the Paolo Tosti, in Ortona, the Mattia Battistini International in Rieti, and The Izmir International in Turkey. He has conducted International master classes, in Australia, New Zealand, Spain, Italy, Belgium and other European centres. He has also collaborated with such luminaries as Rolando Panerai, Gabriella Tucci, Afro Poli, Francisco Ortiz, Carmen Bustamanti, Gabriela Fontana, Salvatore Fisichella, Vincenzo La Scola, Roman Vlad, Gianni Tangucci, Alberto Triola. Dr. Talia has pursued tertiary studies in business administration with an emphasis on the Arts. His doctoral thesis addressed the issue of cultural hegemony and the economics of the performing arts. Throughout this time he devoted himself to the study of vocal pedagogy via the works of the old masters and whatever vocal science was then available. His special interest has resulted in his current work. Dr. Talia was artistic director of Melbourne City Opera from 1996 to 2014, and the Globe Opera Company for ten years before that. He has been involved in over 140 opera productions and has directed such masterpieces as La Boheme, Carmen, Andrea Chenier, Tosca and La Rondine. Dr. Talia has been awarded the Order of Australia Medal for his dedicated services to opera over a period of four decades.
Overview Introduction
Taďle of CoŶteŶts
Vocal Art: The Pioneers 11.and Physiology The New Music, Vocal Art, 32.Giovanni Camillo Maffei: The Beginning ofVocal Physiology 9Posture 11Breathing 11Articulation and resonance 12Registers 133.Lodovico Zacconi: TheVoceMordente 15Breathing 16Registers 16Articulation andcantare con la gorga 194.23Impact of the Camerata on Opera and Singing The development of solo singing 24Peri and Caccini 28Caccini’sNuove Musiche 28Voice registers 315.Bertrand de Bacilly and French Articulation 35Breathing 35Registers 36Articulation 366.Pier Francesco Tosi 38Pedagogical philosophy 39Posture 39Breathing 39Articulation 40Messa di voce 40
Registers Tosisregisters7.A Brief History of the Larynx Ferrein and the larynx Van den Berg’s register model Chest voice Upper Middle and Head Registers Falsetto Register Summary: Pier Francesco Tosi 8.Ansalm Bayly Articulation Registration 9.Johann Agricola Resonance Registers and articulation 10.The Development of the Traditional Italian School A tale of two schools: the Bolognese and Neapolitan Schools The Pistocchi–Bernacchi Bolognese School Antonio Bernacchi 11.Comparison Between the Italian and French School The development of French opera The influence of Italian opera at the court of Louis XIV The Florentine intermedi and Italian Bel Canto Ballet de courAirs de courFrench drama Development of French pastorale French disappointment and Italian failure 12.Jean-Baptiste Lully Timeline of Lully’s rise to prominence Lully’s relationship with Louis XIV Lully’s relationship with Bensérade and Molière Lully and the Académie Royale de Musique
TABLE OF CONTENTS Lully’stragédie en musique85French opera after Lully 8613. Jean-Phillippe Rameau 88Rameau’s Singers 90Conclusions on the development of French opera 9114. The State of French Singing 93Breathing and articulation 93Conclusions about the French School of vocal pedagogy 9515. Ferrein and the New Scientific Revolution 97Composition of the vocal folds 98Vocal fold interaction in the body cover model 100Husson’s neurochronaxic theory 102Van den Berg’s defence of the myoelastic–aerodynamic theory 103Hamberger’s theory of intercostal function 10416. Jean-Antoine Bérard 106Bérard’s breathing strategy 107Chest register and voice quality 110Fundamental frequency and laryngeal position 111Summary of laryngeal position 112Articulation 112Summary of breathing technique 115Bérard and thehaute-contretenor 117
The Bolognese School: The Next Generation17. The Next Generation Giovanni Battista Mancini Mancini’s physiology and breathing Articulation Posture and mouth position Bernardo Mengozzi and hisMéthode de chantMengozzi’ssostegnomethod of breath management Articulation Register
A HISTORY OF VOCAL PEDAGOGYThe scale 18.Nicola Porpora and the Neapolitan School Farinelli Summary and analysis of the Porpora method 19.The End of the Porpora Era: Corri, Nathan, and Ansani Domenico Corri Isaac Nathan Summary Giovanni Ansani 20.Luigi Lablache: The GreatBassoProfundoBreathing Mouth position Pronunciation Registers Messa di voceConclusions on Lablache 21.The Last Castrati Padre Giovanni Battista Martini Ferdinando Bertoni Gasparo Pacchierotti Lorenzo Gibelli Girolamo Crescentini Stanislao Mattei Giovanni Battista Velluti Summary of the Bolognese versus Neapolitan School
The García Dynasty22.Manuel del Pópulo García Summary of Manuel Garcíapère23.Manuel Patricio García Breathing Connection between the larynx and the pharynx CoupdeglotteGarcía’s vocal registers
Women’s chest register Women’s falsetto Women’s head register Summary of women’s registers prior tolaryngoscopic observation Men’s chest register Men’s falsetto The tenor falsetto – head voice Blending the male and female chest registers García’s theory of timbres and vertical laryngealposition In summary Vocal emission Placing the mouth Four major defects García’s development of the laryngoscope Ascending Scale Female falsetto Articulation in singing Vowels Consonants Summary
The Lamperti Dynasty24. Francesco Lamperti Lamperti’s stated objective Posture and breathing Vocal attack Agility Resonance and articulation Emission and attack Pronunciation: articulation and sound Vocal registers Portamento