Das gesangideal im 19. Jahrhundert - aufgezeichnet nach Memoiren beduetender Sänger und Sängerinnne des 19. Jahrhunderts The singing ideal in the 19th century

Journal/Book: Musik-, Tanz- und Kunsttherapie. 1996; 1996: 174-180.

Abstract: The human voice was always able to touch the heart and soul of the listener. This study tries to go after the development of artificial singing, in special the solistic vocal music, and its dependancy from the change in criterions of quality. These are treatises of roman and germanic scholars form already before the turning of the first millenium, in which the possibilities of the human vocal organs are discussed. Between the 16th and the 19th century the opinions about artificial singing flow into the music-theoretical and music-aesthetical works. With the change into the 19th century the sources begin to flow more sparely. The educators wore more intended to keep thir knowledge; in times, when you could earn a fortune as a virtuoso, the human voice and the knowledge about it got more and more a commercial character. The singing pedagogue was related to the practice and saw its purpose in teaching. Singing schools as those of Julie Stockhausen, Julius Hey, Lilli Lehmann and Louisa Tetrazzini defined, how the the singer had to train his voice; but the concentration laid on the oral instructions during the lessons. In the memoires and letters of well-known singers of the 19th century there is also talked about the singing ideal. This study presents not previously published material and information.

Keyword(s): art of singing. voice. sound. breath . appoggio. messa di voce

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