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• W209436306 abstract "(ProQuest: ... denotes non-USASCII text omitted.) prov-e-nance (prov'...-n...ns) n. Place of origin, source. [LAT. Provenire, to originate.] MANUEL GARCIA II WAS ONLY THIRTY years old when he was appointed to the faculty of the Paris Conservatory in 1835. It was quite an honor for such a young teacher. His training and experience with his famous father and the family troupe of singers (including sisters Pauline Viardot and Maria Malibran) were excellent preparation for a career of teaching. Garcia published The Complete Treatise on the Art of Singing in two volumes, 1840 and 1854. Volume one was a description of the vocal mechanism and a complete method for training the voice; volume two was a detailed summary of performance practice in the mid-nineteenth century. Garcia did not invent anything new, but recorded the traditions of voice teaching that he learned from his father. Garcia stated in volume one: It is his method which I have wanted to reproduce by trying to reduce it to a more theoretical form and by attaching the results to the causes.1 Garcia's method is important because it is a description of the common practice of training singers during the time when the art form reached its pinnacle. It took Garcia over 500 pages to deliver his understanding of the art of bel canto. Forty years later Garcia restated his thinking in his last book, Hints on Singing published in 1894.2 After forty years of teaching some of the greatest singers of the age it took him only seventy-five pages to say what he thought we should know. Hints on Singing was written in a question/answer format, that is, a Socratic method of teaching. It is an easy read and widely available (it can be downloaded from the Internet at no charge), unlike The Complete Treatise, which unfortunately is difficult to find. Below is an extended excerpt from Hints on Singing. Garcia is discussing where a singer is to take a breath. (Garcia is nothing if not practical!) I encourage you to study the music examples closely; many remain well known to us today. This excerpt begins on page 54 of the text. In the footnote, H. K. refers to Herman Klein, who helped Garcia with the editing. 38. BREATHING PLACES Q. Where is a singer to breathe? A. Mere common sense forbids breathing in the middle of a word or between words intimately united by grammatical sense. So, obviously, the singer must breathe where the punctuation of words and music agrees. Q. What if the melody, offering no rests, overtasks the breathing power of the singer? A. The knowledge of the extent of phrases, their sections, and figures will assist to find places where to introduce rests [Example 1], and even, if necessary, to make those places by the interpolation of words [Example 2]. …" @default.
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• W209436306 date "2012-11-01" @default.
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• W209436306 title "Hints on Singing . . . Hints Indeed" @default.
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