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1 Making the Clarinet Sing Making the Clarinet Sing: Enhancing Clarinet Tone, Breathing, and Phrase Nuance through Voice Pedagogy D.M.A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Alyssa Rose Powell, M.M. Graduate Program in Music The Ohio State University 2020 D.M.A. Document Committee Dr. Caroline A. Hartig, Advisor Dr. Scott McCoy Dr. Eugenia Costa-Giomi Professor Katherine Borst Jones 1 Copyrighted by Alyssa Rose Powell 2020 2 Abstract The clarinet has been favorably compared to the human singing voice since its invention and continues to be sought after for its expressive, singing qualities. How is the clarinet like the human singing voice? What facets of singing do clarinetists strive to imitate? Can voice pedagogy inform clarinet playing to improve technique and artistry? This study begins with a brief historical investigation into the origins of modern voice technique, bel canto, and highlights the way it influenced the development of the clarinet. Bel canto set the standards for tone, expression, and pedagogy in classical western singing which was reflected in the clarinet tradition a hundred years later. Present day clarinetists still use bel canto principles, implying the potential relevance of other facets of modern voice pedagogy. Singing techniques for breathing, tone conceptualization, registration, and timbral nuance are explored along with their possible relevance to clarinet performance. The singer ‘in action’ is presented through an analysis of the phrasing used by Maria Callas in a portion of ‘Donde lieta’ from Puccini’s La Bohème. This demonstrates the influence of text on interpretation for singers. Together, these points suggest that voice pedagogy may be used to positively influence clarinet performance and pedagogy, ensuring that clarinetists will continue the tradition of ‘making the clarinet sing.’ ii Dedication To Mom, Dad, Thomas, and Noby for your never-ending love and support. iii Acknowledgments I would like to extend my heart-felt thanks to the many professors I have had the privilege of working with during my studies at The Ohio State University. I appreciate the knowledge and inspiration you have imparted through your teaching and musicianship. I am especially grateful to my committee members who have supported my studies over the past three years. Many thanks to Dr. Costa-Giomi for countless fascinating discussions about all aspects of music, to Professor KBJ for inspiring me to think outside the box, to Dr. Mikkelson for expanding my understanding of being an ensemble musician, to Dr. McCoy for encouraging me to pursue this research, and to Dr. Caroline Hartig for pushing, encouraging, challenging, nurturing, and inspiring me to grow as an artist and teacher. Thank you! I would like to acknowledge the wonderful music teachers I studied with prior to attending OSU: Keith Lemmons, Maxine Ramey, Chris Kirkpatrick, Kimberly Gratland James, Polly Huppert, Nita Smith, and Gary Gillett. You shared your knowledge and love of music with me. Both have helped me in my music studies and this final document. Lastly, I would like to thank my family. Thank you for believing in me and supporting me. Noby, I don’t know where I would be without your humor, understanding, and encouragement. iv Vita 2007……………………..Sentinel High School, Missoula, MT 2010……………………..B.M., B.A., University of Montana 2012-2014……………….Graduate Teaching Associate, University of New Mexico 2015……………………..M.M., With Distinction, University of New Mexico 2014-2017……………….Adjunct Instructor, Adams State University, Alamosa, CO 2015-2017……………….Music Teacher, Queen of Heaven School, Albuquerque, NM 2017-2018……………….University Fellow, The Ohio State University 2018-Present…………….Graduate Teaching Associate, The Ohio State University Fields of Study Major Field: Music v Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iii Acknowledgments.............................................................................................................. iv Vita ...................................................................................................................................... v Table of Contents ............................................................................................................... vi List of Figures .................................................................................................................. viii Chapter 1. Introduction ....................................................................................................... 1 Research Overview ......................................................................................................... 2 Chapter 2. The Historical Origins of Vocal and Clarinet Pedagogy ................................... 7 Renaissance ..................................................................................................................... 8 Bel Canto ...................................................................................................................... 11 The Invention of the Clarinet ........................................................................................ 17 19th Century Advancements ......................................................................................... 19 19th Century Italy ......................................................................................................... 23 Summary ....................................................................................................................... 26 Chapter 3. Breathing for Clarinet; Breathing for Voice ................................................... 28 Breathing for Clarinet Playing: Pedagogic Trends ...................................................... 29 Breathing Anatomy and Physiology in Singing............................................................ 42 Breathing for Singing .................................................................................................... 56 Application of Appoggio to Clarinet Playing ............................................................... 62 Chapter 4. Tone ................................................................................................................. 65 Chiaroscuro .................................................................................................................. 65 Tone Onset, Beginning ................................................................................................. 68 Tone Offset, Release ..................................................................................................... 72 vi Registers ........................................................................................................................ 72 Vowel Modification ...................................................................................................... 78 Chapter 5. Phrase Nuance ................................................................................................. 83 Interpretive Tools .......................................................................................................... 83 Interpretive Observations of Puccini’s ‘Donde Lieta’ .................................................. 88 Chapter 6. Discussion and Conclusion ............................................................................. 98 Artistry .......................................................................................................................... 99 Modern Pedagogy ....................................................................................................... 101 Future Research .......................................................................................................... 104 Conclusion .................................................................................................................. 105 Glossary .......................................................................................................................... 107 Bibliography ................................................................................................................... 110 Appendix A. On Vibrato ................................................................................................ 114 Appendix B. ‘Donde lieta’ Transposed for Clarinet ....................................................... 118 vii List of Figures Figure 1. Sketch of Jean Xavier Lefèvre from Méthode de clarinette (1802) .................. 21 Figure 2. Sketch of lungs while breathing for clarinet playing, drawn by Stubbins. ........ 31 Figure 3. Ribcage, sternum, lungs, pleural membrane. .................................................... 48 Figure 4. Diaphragm separating abdominal viscera from thorax. .................................... 49 Figure 5. Intercostal muscles, Internal Oblique, Rectus Abdominus. .............................. 50 Figure 6. Transverse Abdominus and Rectus Abdominus................................................ 51 Figure 7. Quadratus Lumborum. Muscles of the back. ..................................................... 52 Figure 8. Larynx and trachea ............................................................................................ 53 Figure 9. View above the larynx. .....................................................................................
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