Middlesex University Research Repository An open access repository of Middlesex University research http://eprints.mdx.ac.uk Sell, Karen Elisabeth (2003) The disciplines of vocal pedagogy: towards a holistic approach. PhD thesis, Middlesex University. [Thesis] This version is available at: https://eprints.mdx.ac.uk/13486/ Copyright: Middlesex University Research Repository makes the University’s research available electronically. Copyright and moral rights to this work are retained by the author and/or other copyright owners unless otherwise stated. The work is supplied on the understanding that any use for commercial gain is strictly forbidden. A copy may be downloaded for personal, non-commercial, research or study without prior permission and without charge. 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THE DISCIPLINES OF VOCAL PEDAGOGY : TOWARDS A HOLISTIC APPROACH A thesis submitted to Middlesex University in partial fulfilment of the requirements for the degree of Doctor of Philosophy Karen Elisabeth Sell SCHOOL OF ARTS MIDDLESEX UNIVERSITY February 2003 CONTENTS Abstract iv Preface v Introduction 1 Chapter 1 A History of Vocal Pedagogy 11 The sixteenth century 11 The seventeenth and eighteenth centuries 14 The nineteenth century 27 The twentieth century 44 Chapter 2 Ethics, Psychology and Vocal Pedagogy 55 Business ethics 56 General pedagogical ethics 58 The teacher and the student; the teacher and the parent; the teacher and the professional performer; the teacher and other musical colleagues; the teacher and other professionals General psychology 63 General pedagogical principles 66 Student/teacher relationships; learning and memory; motivation; learning plateau; pedagogical structure Specific age groups 77 Pre-school; childhood age five to twelve; adolescence; adults Chapter 3 Science and Vocal Pedgogy 92 Anatomy and physiology 94 Posture; the energizer or breathing mechanism; some pitfalls to avoid; the vibrators Vocal science 109 The use of scientific instrumentation in the singing studio; strobovideolaryngoscopy; phonatory ability; aerodynamic measures; the respitrace; acoustic analysis; the vowel chart and nasometer; laryngeal electromyography (EM G); psychoacoustic evaluation; the electroglottograph (EGG); studio application Vocal health and hygiene 115 General health care; environmental hazards; ailments, medications and early warning signs Chapter 4 Voices, tonal ideal, classification and technique 129 Voices 129 Children's voices; the adolescent voice change; maturing and ageing voice Tonal ideals 134 National schools of singing Vocal classification 138 Voice categories; the dangers of incorrect vocal classification Technique 147 Impulse; the coordinated onset and release of sound; breath management; vibrato; the agility factor; resonance; laryngeal factors; supraglottic considerations; formants and the singer's formant; sostenuto; vowel modification; dynamic control and messa di voce; hearing, feeling and seeing the voice; warming up and cooling down the voice; the spoken voice Chapter 5 Performance 179 The preparation for performance 179 General considerations; opera; concert platform; specific matters; learning songs; rhythm; languages; diction; phrasing; tone colour; aural skills, theory, composition and listening; memorization; communication; working with an accompanist; interpretation; performing practice The performance 213 Promoting the performance; the location of the performance; performance anxiety The evaluation of performance 219 General aesthetic considerations; evaluating vocal performance; the critic; the agent; the festival adjudicator; the examiner; the teacher Conclusion 235 Implications for educating the singer and singing teacher 239 Implications for inter-professional co-operation 243 Coda 244 Appendix 1 245 Supplement to Chapter 1 a) Early history; Middle Ages and Renaissance b) Castrati Appendix 2 253 First impressions in the voice studio Appendix 3 257 Additional performance considerations and contexts Appendix 4 260 Illustrations Bibliography 273 iv ABSTRACT This dissertation comprises an exploration of the thesis that a holistic education entailing multi-disciplinary study is essential if classical singers and vocal pedagogues are to be prepared adequately for performance, for their teaching role, and for cooperation in inter-professional relations. The disciplines pertinent to vocal pedagogy are examined, and their varied contributions are discussed with a view to showing the ways in which they are mutually supportive. The case is argued on the basis of an exhaustive analysis of the relevant literature, and is underpinned by my wide professional experience as a soprano, and as a teacher both in primary, secondary and higher education, and in private practice at home and abroad. Starting with a survey of views on vocal pedagogy from biblical and classical times to the present day, important diverse roots are exposed, yielding differing and even conflicting tonal ideals which have a bearing on the consideration of different singing styles, and the interpretation of songs and arias. Ethics and psychology are identified as central to the entire pedagogical process, along with the scientific basis of singing, encompassing acoustics, anatomy and physiology, with special reference to the bearing of the latter two upon vocal health and hygiene. A detailed consideration of singing technique is the centrepiece of the dissertation, building on the scientific basis already presented. The several aspects of technique are discussed, and an understanding of the relations between good technique and scientific awareness is shown to be fundamental to good vocal pedagogical practice. In differing ways all of the disciplines thus far discussed - history, the ethics and psychology, science, vocal technique - contribute to performance, which is the next topic dealt with. In addition, since the evaluation of performance is a question of aesthetics, that branch of philosophy is introduced as a further discipline contributing to the education of the fully equipped singer and vocal pedagogue. While a considerable amount of research has been undertaken by others on the individual disciplines discussed in this dissertation, no study to date has attempted the task of showing the inter-relationships of all of them, and the ways in which together they bear upon classical singing pedagogy. The central theme of the dissertation is that the adoption of a holistic, multidisciplinary approach is of particular benefit to singers and voice teachers, and that such an approach facilitates mutual co-operation between them and other voice professionals. v PREFACE Since my objectives in this study are stated in the Introduction, it will suffice here to thank those who have assisted me in my researches. It goes without saying that the attempt to show the multi-disciplinary nature of vocal pedagogy has entailed considerable bibliographical effort. In this connection I should like to thank staff of the following libraries for their assistance: Acadia University, Nova Scotia; The British Library; The Library of Congress; The Hollis