r_ £A:.uation/Revue d'bistoire de l'education Book ReviewslComptes rendus anmer (among others) of the qualifi­ James Stark. Bel Canto: A History of If' the Trustees to be master. "ocal Pedagogy. Toronto: University llimnents would be obtained elsewhere; of Toronto Press, 1999. Pp, xxv, 325. ,ot the other examiners objected to his E brought before a superior officer of Few topics cause more discord than nomination would be disallowed. ,me the pedagogy of the classical voice. -.: it is proposed to give the greatest Almost all singers of note (along with ~gwhichcircumstance coupled others of no reputation) teach the art .-perintendance will be a pretty good of singing, and a great many have lmems. With respect of the selection of ventured into print. Battles between ~ religion, I have already said with the different schools of pedagogy have I are left entirely to the clergy-­ continued unabated since the earliest lu~ferenceto religion, I see no found­ authors of instructive texts in the age IIouJdbefelt that sectarian insinuations of belcanto (literally "beautiful voice," btit had an immoral tendency, upon a 19th century term retrospectively ...composed equally ofcatholics and applied to that landmark of the first laplace in my system) these evilswould "Golden Age" of singing, the art of .-diatelv remedied? There are other the castrate). Consequently a measure . .Ad wish'to discard immoral books, and of success in any book about singing is the degree of balance and fairness -.mon of sectarianism and its security shown to opposing views. .. ," Singer, voice teacher, and musicologist James Stark s new mvestl~ lEthe sole management of education to gation of the history of vocal pedagogy ranges from the early 17' • the door (which I am so anxious to century bel canto to contemporary vocal m~thods employin? the frui~s IIlItt:lrian injustice, but it appears to me of modern scientific investigation into physiology and acoustics. Stark is 60k nation is so seriously interested clear and comprehensive in his survey of a wide ~ariety of. materials, IIions which the national resources can balancing well-researched historical inf?rmatio? With technical know­ IIcuion should be directed by national ledge. He explains in the preface that his book is ..purpose and directly responsible to intended primarily for voice students and teachers who may nee? a 60nld beinconvenient, indeed impos­ scholarly road map in order to navigate through the maze of matenals that bear upon the subject, but it is equally suitable for anyone who has lIIking the earliest opportunity of giving a serious interest in singers and singing. .. The heart of the book is the vocal method of Manuel Garcia II, which Stark flaces at the centre of classical singing methods and sees validated by 20' century scientific enquiry. . His book is organized into seven chapters, an appendix, and a com­ prehensive and most useful list of references. The first ~ive chapters ~eal with the effect of the vocal tract in resonance; vocal registers; breathing; and vibrato. Chapter Six describes specific vocal tec?niqu~s .i~ musical expressiveness, and Chapter Seven returns to the earlier definition of bel

~ Historical Studies in Education/Revued'bistoire del'education 13, 1 (2001): 59-61. 60 Historical Studies in Education/Revue d'bistoire de l'education BOOK REVIEWS/COMPTES RENDCS canto, seeking to ally that definition with Garcia's method and conse­ conclusion Stark is led into a ball quent vocal pedagogies. The appendix details the results of the author's accurate performance practice. series of scientific experiments conducted in laboratories in Groningen Chapter Six approaches the • ~ over a period of several years. expressiveness. This material In Chapter One, Garcia's familiarbut much misunderstood term coup analysis of historical "vocal mill de glotte is examined and related to modern views of onset, processed expression in music constitute...-bll: phonation, and "flow" phonation, including asimplebut accurate descrip­ relationship" of central impol'Ulllll ~ tion of the structure of the larynx and the actions of the vocal folds and "word-note-tone relationship· musculature in phonation. It is rare to find this complex information so their part in vocal expressiveness... clearly presented. As an apologist for Garcia, Stark substitutes the term lation of sources with many ddiiI "firm phonation" for coup de glotte and describes it as "the single most quotations from major authors .. important pedagogical concept in the history of singing." concludes with a long expositioa.. Chapter Two examines the resonance of the vocal tract, described as actually contributes to the emoUIiI chiaroscuro, from its inception in the work of Mancini to the recent Cbefaro. This unnecessary ebball books of Richard Miller. Stark again ties the phenomenon to Garcia's rather than elucidates. glottal closure theories, stating that a firm onset will create a sound Finally, Chapter Seven ~ ~ source rich in high frequency, enhanced and further brightened or dark­ Garcia, and Stark re-describes ~ ened by adjusting the vocal tract shape to produce the light/dark profes­ the history of singing. This sional voice quality. He notes with a degree of sarcasm that there is little menon, which he relates inte:dllll .~ scientific proof of the validity of resonance imagery in teaching, yet is modelling in popular singing. fair-minded enough to observe that many successful singers have used The appendix, which in my CIII this method. research to the earlier argu~ Vocal registers present a significant challenge to the singer and strives to use modern phys10lll teacher alike. Stark's conclusion is that more research is needed for a century opinions (as redefined" complete understanding of the subject, but holds that apparently Garcia This book attempts a g:rea. was right in assigning different registers to "different mechanical princi­ deserves to be a vital source m 111 ples." This chapter is a comprehensive collection of theories concerning studios and will surely be USIIlIIII vocal registers with copious quotations from major sources. courses. In his preface Stark saJSI Oy~ Chapter Four is a comprehensive historical survey of breathing in my opinion certainly pedagogies with particular emphasis on appogia and lutte vocale (the of vocal pedagogy. "vocal struggle"), and in this regard Lamperti is acknowledged as a vital source. There is also a most useful survey of modern research into sub­ Bruce Pullan glottal pressure and neuro-muscular control systems. School ofMusic, Univemt) 01. In Chapter Five Stark approaches the matter of vibrato (or, as he rather strangely calls it, "vocal tremulousness") by embarking on a long description of the history of vibrato, or rather lack of it. He pays consi­ derable attention to the early "period" when the modern opera singer's warm, wide vibrato was apparently not used. In consequence, the author ventures into a somewhat less than clear argument about what "vibrato" is.Again there isa comprehensive account of modern research, but in his ~/Revue d'histoire de l'education BOOK REVIEWS/COMPTES RENDUS 61

ion with Garcia's method and conse­ conclusion Stark is led into a backwater argument about historically .dix details the results of the author's accurate performance practice. .ducted in laboratories in Groningen Chapter Six approaches the difficult subject of musical and vocal expressiveness. This material includes an interesting and perhaps useful ...but much misunderstood term coup analysis of historical "vocal matters." Obviously words and their • modem views of onset, processed expression in music constitute what some critics have called a "word-tone ildudinga simple butaccurate descrip­ relationship" of central importance in singing. Stark extends this to a :and the actions of the vocal folds and "word-note-tone relationship" and details the history of vocal idioms and Ir to find this complex information so their part in vocal expressiveness. There is once again a very useful compi­ :... Garcia, Stark substitutes the term lation of sources with many definitions of Italian singing terms with Ir and describes it as "the single most quotations from major authors and critics. Unfortunately, the chapter iIIr history of singing." concludes with a long exposition on the problem of what a singer's voice IllDaDce of the vocal tract, described as actually contributes to the emotion of an aria, with reference to Gluck's I W work of Mancini to the recent Chefaro. This unnecessary elaboration of quite a simple point confuses pin ties the phenomenon to Garcia's rather than elucidates. .. a finn onset will create a sound Finally, Chapter Seven returns to the original thesis of bel canto and -.ced and further brightened or dark­ Garcia, and Stark re-describes beautiful singing as it changes throughout I.pe to produce the light/dark profes­ the history of singing. This includes a description of the castrato pheno­ Ita degree ofsarcasm that there is little menon, which he relates interestingly to modem androgynous role­ Rsonance imagery in teaching, yet is modelling in popular singing. - many successful singers have used The appendix, which in my case fails to convince, relates Stark's own research to the earlier arguments about vocal technique and once again lllliliant challenge to the singer and strives to use modem physiological analysis to justify Garcia's 19th • that more research is needed for a century opinions (as redefined by Stark). ijra. but holds that apparently Garcia This book attempts a great deal and in large measure succeeds. It ;.en to "different mechanical princi­ deserves to be a vital source in University libraries and singing teachers' ~ collection of theories concerning studios and will surely be used as a text for many vocal pedagogy IIions from major sources. courses. In his preface Stark says his book is premature and overdue. It is ~ historical survey of breathing in my opinion certainly overdue, and a fine contribution to the literature - On appogia and lutte vocale (the of vocal pedagogy. • L.mperti is acknowledged as a vital 18I'Te¥ of modem research into sub­ BrucePullan ... c~trol systems. School ofMusic, University ofBritish Columbia 6es the matter of vibrato (or, as he -'ousness"') by embarking on a long ...or rather lack of it. He pays consi­ Dr -..hen the modem opera singer's ~ used In consequence, the author IIdrar argument about what "vibrato" D:en-nt of modem research, but in his