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The Vocal Principles of Garcia As Represented by His Pupils : Battaille, Marchesi, and Stockhausen

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The Vocal Principles of Garcia As Represented by His Pupils : Battaille, Marchesi, and Stockhausen Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1979 The oV cal Principles of Garcia as Represented by His Pupils: Bataille, Marchesi, and Stockhausen. James Richard Joiner Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Joiner, James Richard, "The ocalV 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 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again-beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. Requests can be made to our Dissertations Customer Services Department. 5. Some pages in any document may have indistinct print. In all cases we have filmed the best available copy. University Microfilms International Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 8013124 JOINER, JAMES RICHARD THE VOCAL PRINCIPLES OF GARCIA AS REPRESENTED BY HIS PUPILS : BATTAILLE, MARCHESI, AND STOCKHAUSEN The Louisiana State University and Agricultural and Mechanical Col. PH.D. 1979 University Microfilms International 300 N. Zeeb Road, Ann Arbor, M I 48106 18 Bedford Row, London WCIR 4EJ, England Copyright «so by JOINER, JAMES RICHARD All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. THE VOCAL PRINCIPLES OF GARCIA AS REPRESENTED BY HIS PUPILS: BATTAILLE, MARCHESI, AND STOCKHAUSEN A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Music by James Richard Joiner B.M., Mississippi College, 1964 M.C.M., Southwestern Baptist Theological Seminary, 1968 M.M., Louisiana State University, 1974 December 1979 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS Chap t e r I. INTR O D U C T I O N ......................................... 1 II. THE RESEARCH AND TEACHING PRINCIPLES OF G A R C I A ......................................... 8 A Survey of Pedagogical Approaches and their Relationships To Voice Science Research Prior to Garcia .... 8 Garcia's Research and Its Influence Upon His Teaching Principles ............... 13 A Categorical Description of Garcia's T e a c h i n g ....................................... 29 III. THE RESEARCH AND TEACHING PRINCIPLES OF BATTAILLE ....................................... 69 Biographical Material ........................ 69 Battaille's Publications ...................... 73 Battaille's Research ........................... 79 A Categorical Description of Battaille's T e a c h i n g ....................................... 83 IV. THE TEACHING PRINCIPLES OF MARCHESI .......... 115 Biographical Material ....................... 115 Marchesi's Publications ...................... 118 A Categorical Description of Marchesi's T e a c h i n g ....................................... 130 V. THE TEACHING PRINCIPLES OF STOCKHAUSEN .... 173 Biographical Material ....................... 173 Stockhausen's Publications .................... 183 A Categorical Description of Stockhausen's Teaching ...................... 187 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. VI. CONCLUSIONS AND RECOMMENDATIONS FOR FURTHER STUDY .................................... 217 Attitudes and Approaches in General .... 217 A t t a c k .................................... 219 Voice Qualities, Vowels, and Diction . 226 Breathing and Coordination ................. 228 S u m m a t i o n .................................. 230 Recommendations for Further Study .......... 231 SELECTED BIBLIOGRAPHY .................................. 233 APPENDIX I; TRANSLATION OF THE REPORT ON GARCIA'S MEMOIRE SUR LE VOIX HUMAINE ............................. 242 APPENDIX II: TRANSLATION OF AN EXTRACT FROM BATTAILLE'S NOUVELLES RECHERCHES. 254 VITA 266 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF FIGURES 1. GARCIA: REGISTER RANGES FOR EACH VOICE CLASSIFICATION ..................................... 41 2. GARCIA: MOVEMENTS OF THE LARYNX AND SOFT PALATE IN RELATION TO VOCAL TIMBRES ............................................ 56 3. BATTAILLE'S AUTOLARYNGOSCOPE ...................... 75 4. BATTAILLE'S DRAWINGS OF THE GLOTTIS DURING CHEST AND FALSETTO PRODUCTION ......................................... 92 5. BATTAILLE'S RANGES FOR THE FOUR MAJOR VOICE CLASSIFICATIONS ..............................102 6. MARCHESI: PORTAMENTO EXERCISES .................... 121 7. MARCHESI: PORTAMENTO VOCALISE .................... 122 8. MARCHESI: CADENZA WRITTEN FOR NELLIE MELBA ................................................. 129 9. MARCHESI: STUDIES USING GRUPPETTOS AND MORDENTS .......................................... 137 10. RECITAL PROGRAM OF MARCHESI'S OPERA AND CONCERT CLASSES; DECEMBER 1900 ............ 145 11. MARCHESI: VOICE CLASSIFICATIONS AND RANGES . 151 12. MARCHESI: DESIGNATIONS OF REGISTER LIMITS . 154 13. MARCHESI: PORTAMENTO EXERCISES .................... 159 14. MARCHESI: FUNDAMENTAL SCALE EXERCISES .......... 160 15. MARCHESI: ADVANCED SCALE EXERCISES ............... 161 16. MARCHESI: SCALE EXERCISES FOR LIGHT SOPRANO. 162 17. MARCHESI; EXERCISES OF MULTIPLE FIGURES .... 163 18. MARCHESI: SCALES WITH ORNAMENTATION ........... 164 iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. 19. EXERCISE A CANONE IN UNISON ..................... 189 20. IMITATIVE EXERCISE FOR HIGH AND LOW VOICE . 190 21. STOCKHAUSEN'S TABLE OF THE FOUR VOICE CLASSIFICATIONS AND PITCHES COMMON TO A L L ............................................ 200 22. STOCKHAUSEN'S TABLE OF REGISTERS .............. 201 23. STOCKHAUSEN : PORTAMENTO EXERCISES FOR THE MEDIUM V O I C E ........................... 204 24. STOCKHAUSEN: PORTAMENTO EXERCISES FOR SPECIFIC VOICES ............................. 205 25. EXAMPLES OF STOCKHAUSEN'S SCALE EXERCISES . 206 26. STOCKHAUSEN: SCALE STUDIES EXCERPTED FROM BAROQUE A R I A S ............................. 207 27. STOCKHAUSEN'S "SINGER'S ALPHABET" .............. 212 28. FANT'S VOWEL DIAGRAM WITH X-RAY TRACING .... 213 29. EXAMPLES OF STOCKHAUSEN'S USE OF VOWELS WITH VOCAL EXERCISES ........................... 215 30. COMPARATIVE REGISTER RANGES ..................... 221 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT Manuel Patricio Rodriguez Garcia (1805-1906) was in a unique position in the history of vocal pedagogy. While his teaching methods continued the bel canto tradition passed to him by his father, he was very much a part of the contemporary interest in scientific investigation of vocal production. Highly successful as a teacher, his students graced the opera and concert halls of Europe and the United States for many decades. This investigation is concerned with the Garcia teaching methodology, the influences which contributed to it, and its application and adaptation by his pupils who became teachers. The Garcia pupils chosen for this study were selected on the basis of their historical importance as both singers and teachers, and according to the significance and availability of their published materials on vocal pedagogy. Three people clearly fulfilled the above criteria: Mathilde Marches!
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