Principles of Appoggio: the Interrelationship Between Theory and Practice for Today’S Young Opera Singers
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View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks PRINCIPLES OF APPOGGIO: THE INTERRELATIONSHIP BETWEEN THEORY AND PRACTICE FOR TODAY’S YOUNG OPERA SINGERS by Paul Han Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2018 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Mary Ann Hart, Research Director ______________________________________ Costanza Cuccaro, Chair ______________________________________ Betsy Burleigh ______________________________________ Jane Dutton October 22, 2018 ii Copyright © 2018 Paul Han iii To Hye Jung and Clara iv Acknowledgements I cannot express all my gratitude to people who have made it possible for me to finish this document. I thank my teacher, Prof. Cuccaro, for teaching me with her unceasing love and passion. Her knowledge and method of Bel Canto singing is unparalleled to any other teachings I have encountered. I have learned more than I ever thought I could. My gratitude also goes to Prof. Hart, who provided innumerable insights into the study. Without her help, this document would have been simply impossible. I was lucky to have my singer colleagues who gladly helped me with this document through their interviews. They are not only some best singers I know, but the nicest people. I look for the continued success in their careers, which I have no doubt. The information they provided is priceless. The biggest blessing for me is my family, my amazing parents who support me in every possible way they can. I am grateful for my loving wife who encourages me with her unwavering faith. She made it possible for me to find time to work on this document by taking care of our dear baby, Clara. And lastly, thank you, Clara, for being our precious child! v Table of Contents Acknowledgements........................................................................................................................... v Table of Contents ............................................................................................................................. vi List of Tables ................................................................................................................................... ix List of Appendices ............................................................................................................................ x INTRODUCTION ............................................................................................................................ 1 CHAPTER 1: MILLER’S CLASSIFICATION OF BREATHING TECHNIQUES ....................... 4 German Breathing Techniques ........................................................................................ 5 English Breathing Techniques ........................................................................................ 8 French Breathing Techniques ....................................................................................... 10 Italian Breathing Techniques ........................................................................................ 10 CHAPTER 2: TEACHING OF EARLY EUROPEAN VOICE TEACHERS ............................... 12 Before Tosi .................................................................................................................... 12 Italian Sources ............................................................................................................... 12 German Sources ............................................................................................................ 13 French Sources .............................................................................................................. 14 English Sources ............................................................................................................. 15 Teachings of the Garcia School .................................................................................... 15 Teachings of the Lamperti School ................................................................................ 21 Conclusions ................................................................................................................... 25 CHAPTER 3: MODERN VOICE PEDAGOGY AND SCIENCE ................................................ 27 Posture and Alignment for Optimal Singing ................................................................. 27 Chest .......................................................................................................................... 28 vi Abdomen ................................................................................................................... 29 Back ........................................................................................................................... 29 Shoulders ................................................................................................................... 30 Pelvis ......................................................................................................................... 31 Conclusions ............................................................................................................... 31 The Art of Inhalation ..................................................................................................... 32 Clavicular Breathing .................................................................................................. 37 Thoracic Breathing (Intercostal) ................................................................................ 38 Abdominal Breathing (Diaphragmatic) ..................................................................... 42 Back Breathing .......................................................................................................... 44 Natural Breathing ...................................................................................................... 46 Nose Breathing vs Mouth Breathing ......................................................................... 47 Noiseless Breath ........................................................................................................ 48 Slow Inhalation vs Fast Inhalation ............................................................................ 49 Conclusions ............................................................................................................... 50 The Art of Exhalation .................................................................................................... 51 Breath Support ........................................................................................................... 51 Lung Volume in Singing ........................................................................................... 54 The Art of Holding Back the Air ............................................................................... 59 Breath Pressure vs Airflow ........................................................................................ 61 Conclusions ............................................................................................................... 65 CHAPTER 4: RESEARCH ON ACTIVE PERFORMERS ........................................................... 67 About the Research ....................................................................................................... 67 The Inspiratory Methods ............................................................................................... 68 vii Which Inspiratory Methods Do They Use? ............................................................... 68 Voluntary or Involuntary? ......................................................................................... 72 Evaluation .................................................................................................................. 73 The Expiratory Methods ............................................................................................... 74 Which Expiratory Methods Do They Use? ............................................................... 74 Holding Back the Air vs Letting the Air Flow .......................................................... 79 Evaluation .................................................................................................................. 80 Conclusions ................................................................................................................... 81 BIBLIOGRAPHY ........................................................................................................................ 116 viii List of Tables Table 1 Miller's Classification of Various Breathing Techniques .................................................... 4 Table 2 Points of Expansion for Sopranos during Inhalation. ........................................................ 69 Table 3 Points of Expansion for Mezzo-Sopranos during Inhalation. ........................................... 70 Table 4 Points of Expansion for Tenors during Inhalation............................................................. 71 Table 5 Points of Expansion for Baritones, Bass-Baritones, and Basses during Inhalation. ......... 72 Table 6 Expiratory Strategies of Sopranos. .................................................................................... 75 Table 7 Expiratory Strategies of Mezzo-Sopranos. .......................................................................