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ORIENTATIONS 9
physics. The art of the singer likewise depends upon a knowledge of certain fundamental principles whose formulation is the work of the vocal scientist.
Prior to 1800, the belief was widely held that there was no objective way of studying the voice, just as it was thought that the mind would not yield to investigation. Modern medical science was still in its infancy and psychological research had not yet begun as a science. [Hale 709, p. 12] Klingstedt writes that the teachers of the golden age of bel canto (ca. 1700-1775) taught a natural method of singing that was based on the strict obedience of the singer's voice to a well-trained ear. [320, p. 4] There was little or no technical or scientific knowledge of the vocal organs at that time and most of the teaching was done by precept and example. [Herbert-Caesari 269, p. 1] According to Lang, the bel cantists were able to achieve a "sovereign command over the human voice . . . Their incomparable vocal art—never even remotely reached in modern times—was employed for high artistic aims." [333, p. 448 &.] Manuel Garcia (1805-1906) came to be regarded as the father of vocal science. Prior to his invention of the laryngoscope in 1855 all so-called scientific observations were largely conjectural since there was no satisfactory method of observing the vocal cords in action. [Thompson 610]
What was then known about the singing voice is in no way comparable to what is now known. Since the turn of the twentieth century, hundreds of writers have attempted to bombard the unknown areas of this subject with rational methods of inquiry and discussion in an effort to overcome the ignorance and c6nfusion that still prevail in an art that is as old as mankind. A survey and analysis of the numerous recent contributions to vocal pedagogy may well be considered prerequisite to further research or study in this field.
The Problem Area Defined
Because of its considerable scope, the problem underlying this study was narrowed down to workable proportions by eliminating thirty adjacent vocal areas, and by including only those publications that are written in the English language. The adjacent areas not included in this study are:
1. song literature
2. technical vocal exercises and drills
3. song programs and repertoire building
4. general musicianship for singers
5. music theory for singers |
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