The art of music, Vol. 05 (of 14) — Reading Notes
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VOCAL ORGANS, THEIR OPERATION AND HYGIENE 1
The vocal instrument; anatomy of the vocal organs; the healthy mechanism--The larynx; the laryngoscope; operations of the laryngeal muscles--Tone production; the resonating cavities; vowel formation; articulation--Vocal hygiene; incorrect tone production; throat stiffness and its cure.
II. VOCAL CULTIVATION AND THE OLD ITALIAN METHOD 24
Historical aspect of vocal cultivation--The modern conception of voice culture; the mechanical and psychological methods--Ancient systems--Mediæval Europe--The revival of solo singing; the rise of coloratura--The old Italian method--The _bel canto_ teachers: Caccini; Tosi and Mancini; the _Conservatoire_ method; the Italian course of instruction; theoretical basis of the Italian method.
III. MODERN SCIENTIFIC METHODS OF VOICE CULTURE 55
The transition from the old to the modern system; historical review of scientific investigation; Manuel García; progress of the scientific idea; Helmholtz, Mandl, and Merkel--Diversity of practices in modern methods; the scientific system; breathing; laryngeal action; registers; resonance; emission of tone; the singer’s sensations; correction of faults; articulation--General view of modern voice culture.
PART II. THE DEVELOPMENT OF THE ART SONG
IV. THE NATURE AND ORIGIN OF SONG 70
The origin of song--The practical value of primitive song--The cultural value of primitive song--Biography of primitive song--The lyric impulse--Folk-song and art-song--Characteristics of the art-song; style, the singer and the song.
The nature and value of folk-songs--Folk-songs of the British Isles--Folk-song in the Latin lands--German and Scandinavian folk-song--Hungarian folk-song--Folk-songs of the Slavic countries; folk-song in America.
VI. THE EARLY DEVELOPMENT OF SONG 130
Song in early Christian times--The age of chivalry--The troubadours and trouvères--The minnesingers--The mastersingers; the Lutheran revival--Polyphonic eclipse of song.
VII. THE CLASSIC SONG AND THE ARIA 151
Italy and the monodic style--Song in the seventeenth century; Germany; France--Song in England--The aria--German song in the eighteenth century; French song in the eighteenth century; forerunners of Schubert.
PART III. THE ROMANTIC SONG
VIII. FRANZ SCHUBERT 186
Art-song and the romantic spirit--Precursors of Schubert--Schubert’s contribution to song; Schubert’s poets--Classification of Schubert’s songs--Faults and virtues--The songs in detail; the cycles--Schubert’s contemporaries.
IX. ROBERT SCHUMANN 231
Romantic music and romantic poetry--Schumann as a song-writer--The earlier songs--The ‘Woman’s Life’ cycle; the ‘Poet’s Love’ cycle; the later songs--Schumann’s contemporaries.
X. THE CONTEMPORARIES OF SCHUBERT AND SCHUMANN 258
The spirit of the ‘thirties’ in France; the lyric poets of the French romantic period--Monpou and Berlioz--Song-writers of Italy; English song-writers--Robert Franz--Löwe and the art-ballad.
XI. BRAHMS, WAGNER AND LISZT 276
Brahms as a song-writer--Classification of Brahms’ songs; the ‘folk-songs’; analysis of Brahms’ songs--Wagner’s songs; Liszt as a song-writer.
XII. LATE ROMANTICS IN GERMANY AND ELSEWHERE 296
The dilution of the romantic spirit--Grieg and his songs--Minor romantic lyricists: Peter Cornelius, Adolph Jensen, Eduard Lassen, George Henschel, and Halfdan Kjerulf; Dvořák’s songs--French song-writers: Gounod and others; Saint-Saëns and Massenet; minor French lyricists--Edward MacDowell as song-writer; Nevin and others--Rubinstein and Tschaikowsky--English song.
PART IV. MODERN SONG LITERATURE
XIII. HUGO WOLF AND AFTER 330
Wolf and the poets of his time; Hugo Wolfs songs; Gustav Mahler; Richard Strauss as song-writer; Max Reger’s songs--Schönberg and the modern radicals.
XIV. MODERN FRENCH LYRICISM 346
Fauré and the beginning of the new--Chabrier, César Franck, and others--Bruneau, Vidal, and Charpentier--Debussy and Ravel.
XV. MODERN LYRICISTS OUTSIDE OF GERMANY AND FRANCE 364
The new Russian school: Balakireff, etc.; Moussorgsky and others--The Scandinavians and Finns--Recent English song-writers.
APPENDIX. THE FRENCH-CANADIAN FOLK-SONG 375
ILLUSTRATIONS IN VOLUME FIVE
‘Saint Cecilia’; painting by Rubens _Frontispiece_
The Larynx (Line-cuts in text) 6-13
Apotheosis to Farinelli 44
Illustration for the ‘Roman de Fauvel’; fifteenth century print 74
Famous Singers of the Past (Malibran, Rubini, Lablache) 98
Famous Singers of the Past (Jenny Lind, Patti, Schroeder-Devrient, Viardot-García) 152
‘Das Veilchen’; Fac-simile of Mozart’s manuscript 178
Precursors of Schubert (Hiller, Reichardt, Zelter, Zumsteeg) 192
Poets of the Romantic Period (Hugo, Goethe, Schiller, Heine) 200
Robert and Clara Schumann 238
Famous Singers (Lilli Lehmann, Marcella Sembrich, Melba, Schumann-Heink) 286
Minor Romanticists (Löwe, Jensen, Lassen) 306
French and Scandinavian Song-Writers (Fauré, Pierné, Sjögren, Sinding) 346
Lieder Singers of Today (Julia Culp, Ludwig Wüllner, David Bispham, Elena Gerhardt) 364
THE VOICE AND VOCAL MUSIC
CHAPTER I THE VOCAL ORGANS, THEIR OPERATION AND HYGIENE
The vocal instrument; anatomy of the vocal organs; the healthy mechanism--The larynx; the laryngoscope; operations of the laryngeal muscles--Tone production; the resonating cavities; vowel formation; articulation--Vocal hygiene; incorrect tone production; throat stiffness and its cure.
Volume 5 of The Art of Music opens with an introduction by David Bispham that frames all arts as “emanations from the superman” and asserts their therapeutic value. This philosophical claim sets an elevated tone, but the book quickly narrows to practical history. The first excerpt on Schubert shows the editors’ method: they contrast earlier song composers with Schubert’s “expressive” breakthrough, using terms like durchkomponierte and citing specific works. Readers should note how the editors balance generalization with concrete examples—a pattern likely sustained throughout.
The Introduction’s Curative Frame
Bispham’s opening paragraph declares that arts are “curative, they do us good.” This is not a dry scholarly preface but a manifesto. He argues that no modern ban remains on any art, except by “an occasional religious sect.” The language is confident, even sweeping. For a first-time reader, this frame suggests the volume will treat music as more than technique—as a force for human betterment. Yet the excerpt does not reveal how this claim connects to the later chapters. The reader should watch whether subsequent sections echo this therapeutic theme or proceed independently.
Schubert as Turning Point
The middle excerpt focuses on Schubert’s transformation of song. The editors assert that before Schubert, song music “was appropriate only; with Schubert song became expressive.” They credit him with freeing form, noting that his songs like Aufenthalt or “Gretchen at the Spinning Wheel” have “no discoverable scheme yet a most cogent unity.” The analysis is comparative: Schubert is likened to Haydn in impact. The passage also categorizes his poets into three groups—Storm and Stress, Romantic, young-German—linking musical change to literary and political upheaval. This layered approach (music, poetry, history) is a hallmark of the volume’s editorial style.
Poetic and Political Context
The excerpt divides Schubert’s poets into three classes: Sturm und Drang, Romantic, and young-German. It explains that the Romantic movement was “double”—part extreme individualism, part national awakening against Napoleon. The young-German poets, writing after the Congress of Vienna, turned to “cynicism” and “bitter dream of vengeance.” This contextualization shows the editors treating vocal music as embedded in cultural history. A first reader should note that the volume does not isolate music; it constantly references broader currents. The mention of Goethe and Schiller as Sturm und Drang figures, with Goethe praised for “command over the music of the German language,” reinforces the interdisciplinary lens.
Editorial Structure and Reader Guidance
The volume is part of a fourteen-book set, with this one devoted to “The Voice and Vocal Music.” The title page lists five editors, including David C. Taylor, author of The Psychology of Singing, and Hiram Kelly Moderwell. The presence of multiple editors suggests a collaborative, possibly uneven, voice. The excerpts show a mix of assertive claims (“Enough can scarcely be said of the value of the literature of song”) and detailed historical analysis. Readers should expect each chapter to follow a similar pattern: a strong thesis, historical background, and specific musical examples. The musical examples are provided as audio files in the HTML version, a feature that enhances the reading experience.
This volume rewards readers who attend to its editorial choices: the therapeutic introduction, the comparative method, and the integration of poetry and politics. The excerpts suggest a work that is both a reference and an argument. As you read, note how the editors balance generalization with specificity—and whether the later chapters maintain the same energy as the Schubert analysis.
That rainy afternoon, Reading Notes made Schubert feel less like theory and more like weather—inevitable, moving through me. Its opening promise of music as cure lingered long after I closed it. Days later, I stumbled onto Orpheus; or, The music of the future — Text and Context, and something shifted quietly, as if the first book had left a door ajar.
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