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• W2186391409 abstract "After hearing Paul Robeson at his debut appearance at Carnegie Hall in 1929, dean of American music critics, W. J. Henderson, declared him to be master of art of singing.1 Henderson, author of several books on singing, was at that time music critic for The Sun of New York. Higher praise there could not be. In half decade since Robeson's first formal recitals in late 1924 he had become a celebrated concert singer, performing in world's great concert venues, praised by most eminent critics on both sides of Atlantic.Working in these performance spaces and for professional listeners who took such spaces as their beat, situated Robeson's singing within tradition of song recital, what Robeson referred to as the highly specialized concert field.2 The high degree of specialization demanded of field meant that singing in concert was a circumscribed practice, one that often led to tensions in Robeson's thinking on repertoire and about his own singing voice. To show how these tensions played out in various ways in singer's life and career, this article focuses on training of Robeson's voice in mid to late 1920s.Robeson did not receive a traditional academy-based training of voice; rather, he sought out occasional tutelage on a need-to-know basis. The more he sang professionally, more he discovered about his voice and singing, and more he realized need for its development in certain areas and at certain times in his career. His wife Eslanda tellingly referred to this as rather than training.3 It is many piecemeal instances of voice-help Robeson received that I attempt to trace in this article. Much of literature on Robeson's singing at this time, by contrast, has focused on matters of repertoire, and on how that repertoire was inextricably connected to politics of race and nation.4 Before turning to an account of Robeson's vocal training, I briefly revisit repertoire he sang at this time, not to rehearse politics of repertoire choice, but because it was in singing of that repertoire that Robeson came to acknowledge utility of voice-help for his development as a singer.ROBESON'S REPERTOIRE: THE EARLY YEARSRobeson famously concentrated on African American spirituals and secular songs for first half decade of his concert career. Spirituals had already been programmed in art song recitals by this time, and would soon become a staple of that repertoire. Carl Van Vechten, noted scholar, writer, and patron of Harlem Renaissance, dated this development to H. T. Burleigh's prolific production of voice and piano arrangements of spirituals that began appearing in print in 1917. Suddenly-perhaps date coincides with Roland Hayes's return to this country [in 1923], for it is certain that he has placed a group of Spirituals on his every program-they were not only appreciated, they achieved popularity.5 And singing of spirituals even at this time was not limited to black artists, although musical press sometimes preferred it that way. Edna Thomas is an old favourite in Negro Spirituals, reflected Gramophone, but, as with most white singers, they sound with her at worst, like music-hall songs, at best flippant, or insincerely exaggerated, or just weak.6There was, in other words, a nascent tradition of solo singing of spirituals in recital, one in which Robeson participated. A writer for British Musician and Musical News noted: He sings spirituals primarily as an artist,-as a person who wishes to display a form of art.7 Robeson's revolution was that his entire program was devoted to spirituals. But while mode of their presentation-arranged for solo voice and pianoforte accompaniment, and sung in black tie-conformed in large to practices of concert music, they did not, Robeson realized, make what he termed a 'standard' concert program-some Schumann, Schubert, Brahms, Grieg, etc. …" @default.
• W2186391409 created "2016-06-24" @default.
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• W2186391409 date "2015-09-01" @default.
• W2186391409 modified "2023-09-28" @default.
• W2186391409 title "A Record of Paul Robeson's Voice in Training" @default.
• W2186391409 hasPublicationYear "2015" @default.
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