ABSTRACT Title of Document: FROM THE VOCAL STUDIO TO THE PRACTICE ROOM: AN OVERVIEW OF THE LITERATURE ON EFFECTIVE PRACTICING AND AN IN-DEPTH STUDY OF VOCAL EXERCISE BOOKS. Rebecca Bell Echols, Doctor of Musical Arts, 2013 Directed By: Professor Dominic Cossa, School of Music The purpose of this dissertation was to compile a list of resources to aid singers in their pursuit toward effective practicing. A survey was given to one hundred anonymous participants: fifty vocal students and fifty vocal teachers. The data collected from this survey showed that vocal students would like more resources available to aid in practicing more effectively. Additionally, the study reveals that many of the vocalise books that are in the vocal repertoire have fallen from tradition for reasons unknown, while one composer’s vocalise book, Nicola Vaccai’s, still remains in the teacher and student repertoire. This study provides resources culled from journals, text books, and musical scores. Also provided is a library of vocalises, which are divided into categories on specific vocal matters. The vocalises are categorized alphabetically, by both the category and composer. The final chapter shows the results of the surveys. FROM THE VOCAL STUDIO TO THE PRACTICE ROOM: AN OVERVIEW OF THE LITERATURE ON EFFECTIVE PRACTICING AND AN IN-DEPTH STUDY OF VOCAL EXERCISE BOOKS. By Rebecca Bell Echols Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of DMA 2013 Advisory Committee: Professor Dominic Cossa, Chair Professor Martha L. Randall Professor Timothy McReynolds Professor Delores Ziegler Professor Denny Gulick, Dean’s Representative © Copyright by Rebecca Bell Echols 2013 Dedication I’d like to thank my friends, family, and mentors for all of their support not only throughout this process, but throughout my entire musical career. Thank you to my parents, who have supported my musical dreams all of my life. Thank you to my sister for being at every recital growing up, even when you didn’t want to be. Thank you to my grandparents for your support- I know my grandpa is so proud of me. Thank you to the love of my life- my husband, Eric, for motivating me to work when I needed it most. A special thanks to one of my best friends and most talented people I know, Tammy Miller, for not only your friendship, but for your mentorship over so many years. All of my music teachers throughout the years deserve recognition and I am grateful to you all. Last but not least, I have to thank Lloyd Linney, my first voice teacher. Thank you for your guidance. Thank you for helping me to practice effectively and for inspiring me to be a pedagogue. Most of all, thank you for helping me find my voice. ii Acknowledgements Thank you to my committee members, Delores Ziegler, Timothy McReynolds, Martha Randall, Denny Gulick and Dominic Cossa. I am so appreciative to have had so many of you as my professors in both the studio and the classroom. I’ve enjoyed observing your teaching and am grateful for your guidance. Thank you, Martha, for helping with the pedagogical aspect of this research project. Your knowledge of the voice is astounding and I am so grateful to have been able to work and observe someone of your caliber. Finally, thank you to Dominic Cossa, for being my dissertation chair, my academic advisor, my voice teacher, my mentor, and my friend for my time at the University of Maryland. I have learned so much from you. Your assistance in this project has been invaluable. iii Table of Contents Table of Contents Dedication ....................................................................................................................... ii Acknowledgements ....................................................................................................... iii Table of Contents .......................................................................................................... iv List of Tables ................................................................................................................. vi List of Figures ............................................................................................................... vii Chapter 1: Introduction .................................................................................................. 1 Purpose of the Dissertation, Study and Research Questions ............................... 1 Need for the Study .............................................................................................................. 2 Influential Treatises .......................................................................................................... 3 Supervision of Practice ................................................................................................... 11 Chapter 2: Useful Resources for Students and Teachers on Effective Practicing ........................................................................................................................................ 13 To the Practice Room ...................................................................................................... 16 Chapter 3: Teaching Singers to Teach Themselves: A Review of Selected Literature on Effective Practice Methods .................................................................. 34 Chapter 4: Teaching Singers By Using Vocalises ................................................... 42 A Brief Background of Selected Vocal Method Books .......................................... 43 Nicola Vaccai .................................................................................................................................. 44 Bernard Lütgen ............................................................................................................................. 46 Mathilde Marchesi ....................................................................................................................... 48 Ferdinand Sieber .......................................................................................................................... 49 GiusePPe Concone ........................................................................................................................ 50 Heinrich Panofka .......................................................................................................................... 52 Giulio Marco Bordogni ............................................................................................................... 53 A Categorized Library of Suggested Vocal Exercises for Specific Vocal Matters ................................................................................................................................. 56 Agility: ............................................................................................................................................... 56 ApPoggiatura: ................................................................................................................................ 56 ArPeggio: .......................................................................................................................................... 57 Attack: ............................................................................................................................................... 57 Cadenza: ........................................................................................................................................... 58 Dotted Note: ................................................................................................................................... 58 Interval: ............................................................................................................................................ 59 Legato: ............................................................................................................................................... 60 Messa di Voce: ............................................................................................................................... 60 Mordent: ........................................................................................................................................... 60 Phrasing: .......................................................................................................................................... 61 Portamento: .................................................................................................................................... 61 RePeated Notes: ............................................................................................................................ 61 iv Chromatic Scales: ......................................................................................................................... 62 Diatonic Scales: ............................................................................................................................. 62 Major Scales: ................................................................................................................................... 63 Minor Scales: .................................................................................................................................. 64 Slurred Notes: ................................................................................................................................ 64 Sostenuto: .......................................................................................................................................