THE GERMAN SCHOOL OF SINGING:

A COMPENDIUM OF GERMAN TREATISES 1848-1965

by

Joshua J. Whitener

Submitted to the faculty of the

Jacobs School of Music in partial fulfillment
of the requirements for the degree,
Doctor of Music
Indiana University
May 2016
 Accepted by the faculty of the
Indiana University Jacobs School of Music,
in partial fulfillment of the requirements for the degree
Doctor of Music

Doctoral Committee

______________________________________
Costanza Cuccaro, Research Director and Chair

______________________________________
Ray Fellman

______________________________________
Brian Horne

______________________________________
Patricia Stiles

Date of Approval: April 5, 2016

ii
Copyright © 2016

Joshua J. Whitener

iii
To My Mother, Dr. Louise Miller

iv
 Acknowledgements

I would like to thank Professor Costanza Cuccaro, my chair and teacher, and my committee

members, Professors Fellman, Horne, and Stiles, for guiding me through the completion of my

doctoral education. Their support and patience has been invaluable as I learned about and

experienced true scholarship in the study of singing and vocal pedagogy.

Thanks too to my friends who were also right there with me as I completed many classes,

sang in many productions, survived many auditions and grew as a person.

Finally, I would like to thank my international colleagues with whom I have had the

opportunity to meet and work over the past 15 years. Their friendship and encouragement has

been invaluable, as have the unparalleled, unimagined experiences I have had while living and

performing in Germany. It has been this cultural awareness that led me to the topic of my

dissertation - to define a German School of Singing. Vielen Dank!

I would like to give a special thanks to my mother without whom this paper would not have

been possible. I cannot thank you enough for your countless of hours of editing and

encouragement.

v
 The German School of Singing:
A Compendium of German Treatises 1848-1965

The German school of singing is often characterized by the principles of a muscular approach

to respiration, an overexpansion of the chest, a darker tonal preference, fabricated laryngeal

position, and the emphasis on text over vocalism. Singers, teachers of singing, musicologists,

composers, and conductors rely on astute observations and intensive study of historical artifacts,

including original writings, translated work, and secondary analyses to understand the German

approach. English-speaking audiences typically "know'" German technique through English

language writings or translated versions of scholars such as Richard Miller and German

pedagogues such as Marchesi, Stockhausen, and Lehmann. However, omission of some seminal

writings by German pedagogues not yet translated to English limit a full understanding of both

the evolution of German technique and its applicability to teaching singing today.

This analysis documents the approach to singing advocated by nine German pedagogues

beginning in the mid-1800's through the middle of the twentieth century. Using original German

writings from these authors as sources for this review, it becomes clear that as the German style

developed, there was a desire to move away from other European techniques, particularly Italian

principles, to create a unique German method. Yet ultimately, many Italian ideas remained in the

German approach. By comparing the beliefs and singing techniques of important German authors,

a chronological appraisal of German style identifies the essentials of a German school of singing.

These include Italian fundamentals of diaphragmatic-costal breathing, elastic tension of the breath

musculature, imposto (breath-resonance connection), chiaroscuro tonal quality, an importance of

head voice in blending registers, use of consonants in balancing a tone, and a gestalt approach to

singing. These principles were modified to fit German preferences and taste.

vi
 Table of Contents

Acknowledgements ............................................................................................................. v

The German School of Singing: A Compendium of German Treatises 1848-1965 .......... vi

Table of Contents .............................................................................................................. vii

List of Figures .................................................................................................................. viii

List of Tables ..................................................................................................................... ix

List of Appendices .............................................................................................................. x

Chapter 1: Introduction ....................................................................................................... 1

Chapter 2: Mechanics of the Singing Voice ....................................................................... 6

Chapter 3: Heinrich Ferdinand Mannstein ........................................................................ 21

Chapter 4: Friedrich Schmitt ............................................................................................. 35

Chapter 5: Ferdinand Sieber ............................................................................................. 49

Chapter 6: Julius Hey ........................................................................................................ 59

Chapter 7: Bruno (Benno) Müller-Brunow ....................................................................... 72

Chapter 8: George Armin.................................................................................................. 81

Chapter 9: Paul Bruns ....................................................................................................... 96

Chapter 10: Franziska Martienßen-Lohmann ................................................................. 108

Chapter 11: Frederick Husler .......................................................................................... 121

Chapter 12: Richard Miller ............................................................................................. 133

Chapter 13: Summary of Other Key Treatises ................................................................ 139

Chapter 14: Conclusion: A Definition of the German School of Singing ...................... 145

Appendix: Glossary of Terms ......................................................................................... 164

Bibliography ................................................................................................................... 170

vii
 List of Figures

Figure 2.1. Interplay Between Registers ........................................................................... 17

Figure 3.1. Tetrachords of the Tenor Voice ...................................................................... 29

Figure 6.1. Vowel Color ................................................................................................... 66

Figure 8.1. Vowel Development ....................................................................................... 88

Figure 8.2. Use of Vowels to Achieve an Even Scale in the Tenor Voice ....................... 92

Figure 8.3. Use of Vowels to Achieve an Even Scale in the Soprano Voice ................... 93

Figure 11.1. Sympathetic Resonance Placement Points to Correct Vocal Faults ........... 127

viii
 List of Tables

Table 14.1. Italian Characteristics of the Castrati Tradition ........................................... 162

Table 14.2. Attributes of the German Approach to Singing ........................................... 162

ix
 List of Appendices

Glossary of Terms ........................................................................................................... 164

x
 Chapter 1: INTRODUCTION
The prevailing view of the German approach to singing over the past fifty years has been that

it is a singular, stand-alone set of principles. What has not been accounted for however is the

impact of other European traditions on the development of the German method. It is intuitive to

think singing traditions coming before, such as the Italian method or perhaps others, would

influence German pedagogues. Yet, that influence is unclear. If and how, then, did other singing

traditions influence German singing, and if so, to what degree? Or was the German method

created independently?

This review details seminal writings of German authors who designed, developed, and

refined a German approach to singing. Authors selected were those who made substantial

contributions to the evolution of this singing style. As an overall German approach to singing

developed, there was disagreement among teachers as to which elements were foundational to

"correct technique" and how these should be practiced and delivered by the singer. For example,

George Armin felt the answer to singing was in his Stauprinzip, a muscular storing and damming

of the breath against the vocal folds. However, contemporaries such as Paul Bruns strongly

criticized this idea, saying instead the use of Minimalluft (minimal air) and relaxation of the

breathing muscles (e.g., abdominals) was the solution to problems associated with singing.

What we know in the English speaking world about the German approach to singing is

through translated German language writings and English language summaries. While these are

valuable to understanding German technique, original German treatises not published and

unavailable in English can further extend and expand this understanding. The purpose, therefore,

of this systematic review is to add to the knowledge base by incorporating these German

language writings to describe a German school of singing. Ultimately, this review along with

supporting materials from English language resources offers a more comprehensive

understanding of German technique.

1
 2

The American author, Richard Miller, in his book National Schools of Singing (1977),

provided the most comprehensive English language discussion of the German approach. His

summary of national methods was based on twenty-five years of his personal observations of

professional singing. In his text, he noted the most common generalizations as to what makes up

the "German school of singing.” For example, Miller identified the breathing technique of

Bauchaussenstütze (distended belly support),1 Deckung (a mechanical over darkening at

passaggio points) to unify registers,2 and Nach-hinten-Singens (singing toward the rear) in

attempt to create the correct pharyngeal space in phonation as key elements to the German

approach.3

Because Miller’s review focused generally on his onsite observations, little is actually known

about original written sources that defined a German school of singing. German pedagogues such

as Julius Hey, Friedrich Schmitt, and Franziska Martienßen-Lohmann had an enormous impact on

the German tradition of singing, yet their presence in English writing is limited or, for Schmitt

and Hey in particular, nonexistent.

This present review addresses this gap by including the work of these rather unknown authors

as well as key figures from the early nineteenth century through the middle of the twentieth

century. The movement to develop a German singing approach began with Mannstein's early

writings in 1848, which were heavily influenced by Italian principles. Shortly after Mannstein

presented his ideas, Schmitt followed with his attempt to create the first German school of singing

in the mid-1800's. Evolution of the German approach continued well into the twentieth century

when Husler published his text further detailing and explicating the true nature of a German

school of singing.

Other lesser known English language contributions to understanding German singing add to

1. Richard Miller, National Schools of Singing: English, French, German, and Italian Technique
of Singing Revisited (Lanham, MD: Scarecrow Press, 1997), 21.
2. Ibid., 135.
3. Ibid., 70.
 3

this discussion. Original treatises written by Julius Stockhausen, Mathilde Marchesi, and Lilli

Lehmann are widely known and respected among English language readers as standard pedagogy

texts. Writings by Stockhausen and Marchesi exemplify the singing tradition of their teacher

Garcia II, whose ideas were very popular in Germany during the nineteenth and twentieth

centuries. From their works, it was evident that Garcian principles, particularly a precise onset

described as being made with the stroke of the glottis (coup de glotte), the balancing of registers

through vowel modification, i.e. clair (light) and sombre (dark) timbre, and the emphasis on

diaphragmatic-costal breathing were being taught and adopted by singers and teachers of singing

in Germany. Lilli Lehmann, not a student of Garcia, also incorporated many of these same

principles in her own individual approach. Importantly, she combined the vocabulary of the

singer with the language of science.

One other teacher, Johannes Messchaert, while not well-known in the English language, is

important to the discussion of the German singing tradition. Although his writings are less

influential than those cited here, his principles reflect the development of the German school and

are necessary to fully understand the evolution of vocal pedagogy in Germany.

Nine German authors are included in this review. Selection of these authors for analysis was

based on several decision criteria: (1) their place in history as they contributed to the German

singing tradition, (2) the lack of knowledge of their methods in the English speaking world (3)

their discourse with their contemporaries about "correct" technique, (4) the chronology of the

development of the German technique spanning the time of 1848-1965, and (5) success of their

individual methods to develop singers.

Heinrich Ferdinand Mannstein who published his treatise in 1848 is pivotal as the starting

point for this review since he is the one author who was most clearly linked to the existence of the

Italian school of singing in Germany. His singing manual attempted to capture and emulate
 4

teachings of the famous castrato and voice teacher Antonio Bernacchi.4 Friedrich Schmitt’s work

that followed in 1853 was invested in designing a school of singing, to be built specifically on

German principles,5 which was later continued through the efforts of Julius Hey (1884).6 Hey's

close relationship and collaboration with Richard Wagner led to one of the most well-known

works in the German language on recitation, a condensed version of Deutscher Gesangs-

Unterricht, Der kleine Hey (1912). Wagner's influence on the development of opera in Germany

was pivotal, encouraging nationalist ownership of German operatic style.7

The work of Ferdinand Sieber (1885), written thirty-seven years after Mannstein's

contribution, reflected the influence of the Italian tradition, principles he developed through his

experiences studying with Johannes Miksch in Dresden and Giorgio Ronconi in Italy.8 At the

same time, Bruno Müller-Brunow (1890) marked a new physiological-mechanical approach to

singing (Tonbildung) in his speech-based approach.9 George Armin (1909) continued the same

approach of Tonbildung, adding the highly controversial method of Stauprinzip, which was a

technique of “breath damming” to unify, what he called, the dualistic nature of the voice. Paul

Bruns (1929) later attacked Armin's method, arguing instead for a technique of minimal air and

relaxation of the breath musculature.10

By the mid-twentieth century, Franziska Martienßen-Lohmann (1963) offered a well-

rounded, international school approach incorporating elements of previous German pedagogues

as well as the old Italian masters.11 Frederick Husler rounds out the important pedagogues who

4. Heinrich Ferdinand Mannstein, Die grosse italienische Gesangschule (Dresden: Arnoldischen

Buchhandlung, 1848), 3.
5. Friedrich Schmitt, Grosse Gesangschule für Deutschland (München: Beim Verfasser, 1854), 7.
6. Friedrich Blume and Ludwig Finscher, Die Musik in Geschichte und Gegenwart: Allgemeine
Enzyklopädie der Musik; Personenteil,12, (Kassel: Bärenreiter 2004), 1505.
7. Julius Hey, Deutscher Gesangs-Unterricht. Lehrbuch des sprachlichen und gesanglichen
Vortrags (Mainz: B. Schott's Söhne, 1884), 2-4.
8. Ferdinand Sieber and Ferdinand Seeger, The Art of Singing (New York: Wm. A. Pond, 1872),
14.
9. Franziska Martienßen-Lohmann, Der wissende Sänger: Gesangslexikon in Skizzen (Zürich:
Atlantis-Musikbuch-Verl., 1988), 147.
10. Ibid., 148.
11. Ibid., 148.
 5

make up the German approach with his text, being one of the first to use physiology to demystify

the singing process in the hopes of making it a clear-cut discipline.12 His work still serves as a

decisive guide to vocal pedagogy in conservatories throughout Germany.13

This present review details key points for each of the German authors and summarizes

English language writings central to the topic at hand. Elements foundational to singing are

detailed by author to include discussions about respiration, resonance, phonation, registration, and

unique aspects of each treatise. The purpose therefore of this review is to compare and contrast

various elements of technique advocated by all authors in an effort to define a German approach

to singing - the German school of singing.

12.. Frederick Husler and Yvonne Rodd-Marling, Singing: The Physical Nature of the Vocal
Organ: A Guide to the Unlocking of the Singing Voice (London: Hutchinson, 1976), xiii.
13. As I selected references for this dissertation, I asked many of my German colleagues which
materials they found most useful in their careers. The majority were familiar with Husler’s work and used it
in their studies. The same cannot be said of other references reviewed in this paper.
 CHAPTER 2: MECHANICS OF THE SINGING VOICE
The twentieth and the twenty-first centuries brought many advances to vocal pedagogy,

particularly with infusion of scientific principles into the teaching of singing. Consequently, when

treatises written during the nineteenth and early twentieth century are interpreted for modern day

use, vague language in early writings creates confusion and disagreement surrounding key

concepts among today’s teachers of singing. For example, “diaphragmatic breathing” can imply

different types of muscular involvement.14

Therefore, to correctly interpret and analyze singing manuals presented in this paper, a

discussion of the current understanding of selected basic principles of vocal pedagogy is

necessary. It is important to note that, since singing is a gestalt act, it is difficult to isolate each

element, and thus, overlap between elements should be expected. Terms used in this review are

defined in the Appendix.

Respiration

Role of Posture

Modern vocal pedagogues suggest a strong connection between posture and breathing,

believing posture sets the conditions for optimal breathing and therefore exemplary singing.15

Meribeth Bunch Dayme describes good body alignment for singing as consisting of three

important aspects:

 The head is up, face forward, and the external auditory meatus is vertically above the
middle of the point of the shoulder.

 The chest is high, yet not rigid as in a military position of attention.

14. Diaphragmatic breathing is a vague description because it implies various types of breathing
methods. This is due to the fact that the diaphragm, being the chief muscle of respiration, must be involved
in every method of breathing (clavicular, thoracic, abdominal, diaphragmatic-costal).
15. Oren Brown, Discover Your Voice: How to Develop Health Voice Habits (San Diego: Singular
Publishing Group, 1996), 18; Barbara M. Doscher, The Functional Unity of the Singing Voice (Metuchen,
NJ: Scarecrow Press, 1994), 69; Richard Miller, Solutions for Singers: Tools for Performers and Teachers
(New York: Oxford University Press, 2004), 39.

6
 7

 The highest point of the pelvis is also on the same line (as the external auditory meatus
and acromion).16

Types of Breathing

Clavicular Breathing

This type of breathing is seen in the average person who has no training in singing. It is

characterized by a simultaneous movement of the shoulders, clavicles, and thorax upon

inhalation. As with all types of breathing, the diaphragm is involved in the process. However, in

clavicular breathing, engagement of the diaphragm is also supplemented by muscles that lift the

upper chest, e.g. levator scapulae, scalene, and trapezius.17

Richard Miller notes this type of breathing results in what he terms “a noisy incomplete

breath,” resulting in a collapsed rib cage. He indicates the rib cage must be constantly

repositioned during the singing process.18 The result is a quick ascent of the diaphragm and

tension in the laryngeal muscles, leading to poor breath control and either a tense, or breathy

vocal tone.

Abdominal Breathing

In this type of breathing the chest is held relatively low19 and upon inhalation there is a great

expansion in the abdominal region caused by the relaxation of one or more of the abdominal

muscles.20 As a result, this type of breathing is often called “belly breathing,”21 or

Bauchaussenstütze (distended belly support).22

During inspiration, the downward movement of the diaphragm displaces the viscera resulting

in a bulge in the abdomen. Scott McCoy notes that, depending upon which specific abdominal

16. Meribeth Bunch Dayme, Dynamics of the Singing Voice (Wien: Springer, 2009), 57.
17. Scott McCoy, Your Voice: An Inside View (Princeton: Inside View Press, 2006), 94.
18. Miller, National Schools of Singing, 19.
19. Dan Marek, Singing: The First Art (Lanham, MD: Scarecrow University Press, 1996), 71.
20. Ibid.
21. William Vennard, Singing: The Mechanism and the Technic (New York: C. Fischer, 1967),
28-29.
22. Miller, National Schools of Singing, 1-2.
 8

muscles are relaxed in the abdomen, the viscera can be displaced at the anterior wall, to the sides,

or to the lower back of the abdomen. If all abdominal muscles are relaxed simultaneously, the

result will be an even distribution of the viscera throughout the abdomen.23

McCoy also points out that anatomical differences between men and women (e.g. female

reproductive organs) may account for the differing opinions as to where breath expansion is

experienced in this type of breathing. He states that men often sense breath expansion at the

epigastrium while women expand more abdominally.24

During phonation, the abdominal muscles contract against the viscera, pressing the

diaphragm back to its resting position.25 Because the intercostal muscles are not involved in this

type of breathing, it can result in pressed phonation as the abdominal muscles are the only ones

involved in supporting the diaphragm’s ascent. Dan Marek best describes the problems with this

type of support:

Each muscle depends upon its opposite to counterbalance its pull and allow movement
in the opposite direction. The diaphragm is no exception. When forceful exhalation
begins, the diaphragm begins to relax and move upward, as the abdominal muscles
tighten and push up against it. This is where the singer begins to feel the sensation in the
larynx called subglottal pressure. Some have called it “the fist in the throat.” One can
experience this grunting sensation by picking up something heavy. The resulting pressed
feeling in the glottis is associated with Valsalva maneuver. If one attempts to tighten the
glottis, the tone becomes impressive but very fatigued after a time. The powerful
abdominal muscles are directly pitted against the tiny laryngeal muscles. As a result,
fine coordination of the inner laryngeal muscles is often lost, and the closing muscles
are replaced in function by the tensors. One hears many so-called “dramatic” singers
who can sing only fortissimo or in a falsetto piano after years of singing in this manner.
Coloratura is a lost cause, and dynamic flexibility is impossible.26

Intercostal Breathing

Intercostal breathing is typified by the expansion of the external intercostal muscles upon

inhalation and the internal intercostal muscles upon exhalation. In this mode of breathing,

23. McCoy, Your Voice, 95.

24. Ibid.
25. Ibid.
26. Marek, Singing, 71.
 9

expansion at the flanks and back coincides with the contraction and flattening of the diaphragm.

In addition to the involvement of these muscles, there is some engagement in the musculature of

the abdomen.27

Many authors see great benefit in this type of breathing. Dan Marek states that the intercostal

muscles are extremely powerful and should be sufficient for most phrase lengths28 and Scott

McCoy maintains contraction of both sets of intercostal muscles gives the singer greater control

over breath pressurization.29 Finally, William Vennard advocates that, “probably breath control

depends upon resisting the tendency to collapse the ribs as long as possible.”30

However, as with abdominal breathing, Intercostal breathing is incomplete as it does not

allow for full descent of the diaphragm.31 An example of such an incomplete breathing method

that chiefly depends upon intercostal breathing is pancostal breathing. It is a pivotal point in the

discussion of the writings of early pedagogues discussed in this document.

Vennard states that in this type of breathing, the singer holds the abdominal muscles firmly

during inhalation in the belief that “[they] will maintain a high central tendon, causing the

diaphragm to raise the ribs.”32 He, however, notes this idea, once popular, has been disproved,

and that when the diaphragm is allowed to flatten displacing the viscera (as in abdominal

breathing), the singer is able to draw in more air. Furthermore, he notes that a combined method

of breathing containing elements of both thoracic and abdominal breathing allows the singer to

optimally breathe for singing.33 This method of breathing is named diaphragmatic-costal

breathing. It correlates to the type of breathing termed appoggio (to lean upon), which is a

hallmark of the Italian school of singing.34

27. Marek, Singing, 72.

28. Ibid.
29. McCoy, Your Voice, 95.
30. Vennard, Singing, 28.
31. Marek, Singing, 72.
32. Vennard, Singing, 243.
33. Ibid., 28.
34. Marek, Singing, 73.
 10

Diaphragmatic-Costal Breathing (Balanced Breathing, Appoggio)

This type of breathing, a combination of abdominal and intercostal breathing, is advocated by

the majority of current day vocal pedagogues and believed to be the most efficient method for

controlling the outflow of air.35 As noted, this method reflects the Italian method of appoggio.36

In diaphragmatic-costal breathing, abdominal expansion is limited and not allowed to fully

distend (i.e. over-distention of the belly as if the singer were pregnant, which often corresponds to

a sunken chest position) and is accompanied by the expansion of the lower rib cage. This permits

the diaphragm to fully descend upon inhalation. Upon exhalation or phonation, the expansion of

the rib cage (controlled by the intercostal muscles) is supported by a passive contraction (flexible)

of the abdominal muscles, which helps support the weight of the viscera and maintain chest

expansion.37

Dan Marek observes that in this type of breathing the intercostal breath is the primary mode

of control for the outflow of air. The abdominal breath is used as the reserve for a long phrase

when the intercostal breath will not suffice.38 Thus, diaphragmatic-costal breathing is the most

effective breathing method for singers and, through reflex action, creates the proper position of

the larynx (comfortably-low) and freedom in the muscles of the upper vocal tract (e.g. tongue).39

Important Aspects of Breathing40

 Breathing for singing is different than in normal respiration. This is due to muscular
involvement involved in balancing air pressure.

 The muscular activity for breathing for singing is very individual and depends on the
shape of the singer’s physical stature, i.e. the shape of the rib cage.

 Posture and alignment play an important role in the breathing process.

35. Dayme, Dynamics of the Singing Voice, 86-89; Marek, Singing, 73; Miller, The Structure of
Singing, 23-25.
36. Miller, The Structure of Singing, 23-25.
37. Dayme, Dynamics of the Singing Voice, 88.
38. Marek, Singing, 72-73.
39. Scott McCoy, Your Voice, 129-130.
40. Summarized from Dayme, Dynamics of the Singing Voice, 86-88.
 11

 Excessive tension in the body can deceive the singer into believing that he/she is “full” of
air, creating a false sense of abdominal tension that does not allow the diaphragm to fully
descend.

 Inhalation is most effective when it is effortless. This implies the respiratory muscles
move freely and easily, and that there is low resistance to the incoming air in the vocal
tract. Silent inhalation is a tell-tale indication of this dynamic freedom.

 Breath support is the balancing of subglottic pressure by retaining optimal postural

alignment. This allows the position of the rib cage, abdominal muscles, and the
diaphragm to function most efficiently.

 The rib cage should not be fixed or rigid, rather the singer should maintain a comfortable
expansion that does not impede on the muscles of the larynx.

 At the attack of the tone, the inspiratory muscles continue their engagement while at the
same time, the abdominal muscles also contract.

 The abdominal muscles passively contract against the diaphragm helping to prop up the
rib cage during expiration.

Phonation

Theories of Voice Production

Currently Accepted Theory of Phonation: Myoelastic-Aerodynamic Theory

Today’s widely accepted theory of voice production is the myoelastic-aerodynamic theory.

This idea was first put forward by Johannes Müller (1801-1858) in 1843 and was further

developed by Janwillem van den Berg (1920-1985) during the 1950’s.41 Recently in 2006, Ingo

Titze further explicated the elements that define this idea.42 This theory promulgates the notion

that the vocal folds approximate to the thought of pitch and then fully adduct as air passes

between them, consistent with the physical laws of the Bernoulli effect.43 Willard Zemlin best

describes this phenomenon:

The myoelastic-aerodynamic theory postulates that the vocal folds are subject to well-
established aerodynamic and physical principles. The compressible and elastic vocal
folds are set into vibration by the air stream from the lungs and trachea, and the

41. Willard R. Zemlin, Speech and Hearing Science: Anatomy and Physiology (Boston: Allyn and
Bacon, 2011), 182.
42. Ingo R. Titze and Fairborz Alipou, The Myoelastic Aerodynamic Theory of Phonation
(Denver: National Center for Voice and Speech, 2006).
43. Brown, Discover Your Voice, 45; McCoy, Your Voice, 104-105.
 12

frequency of vibration is dependent upon their length in relation to their tension and
mass. Properties of the mucus, mucous membrane, connective tissue, and the boundaries
of the vocal folds all contribute to the mode and frequency of vibration. These properties
are regulated primarily by the delicate interplay of the intrinsic laryngeal muscles.44

The myoelastic-aerodynamic theory contrasts with the neurochronaxic theory of voice

production.

Neurochronaxic Theory of Voice Production

This theory of voice production was advanced by the French physiologist Raoul Husson

(1901-1967) during the 1950’s, but is now largely if not totally refuted.45 This theory introduced

the idea that vibration of the vocal folds was caused by neuromuscular activation. Again, Zemlin

best describes this theory:

The neurochronaxic theory advanced by Husson postulates that each new vibratory cycle
is initiated by a nerve impulse transmitted from the brain to the vocalis muscle by way of
the recurrent branches of the paired vagus nerve. This means that the frequency of vocal
fold vibration is dependent upon the rate of impulses delivered to the laryngeal muscles
and is relatively independent of those very factors which are crucial in the myoelastic-
aerodynamic theory.46

Zemlin notes these two theories, myoelastic-aerodynamic and neurochronaxic, are too dissimilar

to be merged into one combined theory of voice production.47

Types of Onsets

There are three general types of onsets, each of which corresponds to a quality of phonation.

These are the breathy, the hard, and the balanced onsets. The two faulty onsets, breathy and hard,

can vary in degree of intensity. For example, a hard (or glottal) attack can be made with a strong

glottal plosive resembling a cough, or with a light glottal attack characteristic of the German

language.

 The breathy onset is caused by inadequate use of air flow to fully adduct the vocal folds
(breath flow is either too fast or consists of too much pressure), or there is an inefficient

44. Zemlin, Speech and Hearing Science, 182.

45. Vennard, Singing, 56-57.
46. Zemlin, Speech and Hearing Science, 182.
47. Ibid.
 13

contraction of the laryngeal muscles. It has a breathy quality, thus its name.48 This type of
onset corresponds to breathy phonation.

 The hard onset or glottal attack is characterized by an onset with a “cough-like” quality.
It is caused by complete closure of the vocal folds before phonation creating a buildup of
breath pressure.49 This onset corresponds to pressed phonation.

 The balanced onset occurs when there is correct coordination between air flow and
muscular tension in the vocal folds. This type of attack is fundamental to optimal
phonation and serves as the basis for all aspects of vocalism such as blending registers
and agility.50 This onset corresponds to flow phonation.

Coup de Glotte

One major point of debate among pedagogues has been an onset closely associated with the

teaching of Manuel Garcia II, termed the coup de glotte. While the term literally translates as

“stroke of the glottis,” suggesting a hard or glottal attack, many modern scholars believe Garcia

was actually advocating for a precise balanced onset.51 In fact, when examining Garcia’s treatise

closely, one can infer this interpretation since he clearly rejects a glottal attack, what he called

“the stroke of the chest” (coup de poitrine).52

Resonation

Harmonics and Formants - Vocal Source and Vocal Tract Filter

Vocal resonance is created by the interaction of two different elements:

 Harmonics, created by the vibration of the vocal folds;

 Formants, concentrated acoustical energy that measures around a certain frequency,

created by the filtering of harmonics in the vocal tract.

Harmonics

The quality of phonation, i.e. the vibration of the vocal folds, determines the quality of the

harmonics produced. Different types of phonation affect harmonics in these ways:

48. Dayme, Dynamics of the Singing Voice, 103-104.

49. Ibid.
50. Ibid.
51. Miller, National Schools of Singing, 2.
52. Manuel Garcia and Donald V. Paschke, A Complete Treatise on the Art of Singing: Complete
and Unabridged (New York: Da Capo Press, 1984), 42.
 14

 Pressed phonation produces a moderate fundamental frequency, with a gradual roll off of
power. It consists of stronger and higher harmonics.

 Breathy phonation produces a moderate to strong fundamental frequency, but has a steep
roll off of power. It consists of fewer and weaker higher partials.

 Flow (balanced) phonation produces a strong fundamental frequency, with a moderate

roll off of power. It consists of a good set of high harmonics.

 A thyroarytenoid-dominant tone (chestier adjustment) creates stronger high harmonics

than a cricothyroid-dominant tone (headier adjustment). A thyroarytenoid-dominant tone
possesses a brassier timbre than a cricothyroid-dominant tone.

 Louder phonation consists of more harmonics and stronger harmonics.

 Softer phonation consists of fewer harmonics which roll off quickly and weaker high
harmonics.53

Formants

Formants are created by the filtering of harmonics through the shape of the vocal tract. Key

points to understand about formants include the following:

 The vocal tract is shapeable and, as a result, has the ability to tune harmonics with
formants. The singer can alter this shape through the positioning of the larynx, tongue,
jaw (mouth opening) and soft palate. This movable shape is what creates formants,
leading to vowel definition and tonal quality.

 Formants are infinite but only three to five play a factor in the timbre of a singer’s voice.
In general, a bass’ tonal quality possesses five formants, a soprano’s three, and all other
voice types four.

 The first two formants are fundamental for the definition of the vowel.

 The first formant is most responsible for timbral depth and whether or not the
timbre is open (voce aperta) or closed (voce chiusa).54

 The second formant plays a stronger role in defining vowel clarity, the front-
back dimension of the vowel, and resonance balancing in the upper range of
the male voice and middle range of the female voice.55

 Singer’s formant cluster is a clustering of sound formants (third formant and above); it is
a major factor in classical singing, giving the voice carrying power.56

53. Kenneth Bozeman, Practical Vocal Acoustics: Pedagogic Applications for Teachers and
Singers (Hillsdale, NY, 2013), 5-7.
54. Ibid., 15.
55. Ibid.
56. Ibid., 107.
 15

 In the 1970’s, Johan Sundberg studied recordings of Jussi Björling and identified
the average frequency spectrum had a strong presence around 3000Hz. Sundberg
described this phenomenon as singer’s formant.57

 Specifically, Singer’s formant clusters around 2400-3200 Hz. This is an area

where the human ear is most sensitive.58

 Singer’s formant clustering involves formants three and above (usually formants
3-5).59

 A comfortable low laryngeal position is necessary to achieve this quality.60

 Singer’s formant allows the voice to project easily over an orchestra because its
frequency is well above that of an orchestra, which is approximately 450 Hz.61

 This clustering is most characteristic of male voices but is also used by female
singers in the middle and low registers.62

 Women rely less on singer’s formant in the upper range since the fundamental
pitch they sing is often high enough for their voices to project.63

 While this scientific concept was first identified in the 1970’s, awareness of this
phenomenon has been noticed since at least 1885, when Herman von Helmholtz
(1821-1894) described the sound as a strange ringing sensation present in male
voices. He noted this was a quality not present in musical instruments. 64 One can
assume he was hearing singer’s formant clustering.

Nonlinear Source-Filter Theory

While the discussion above highlights linear source-filter theory, modern day voice scientists

also recognize the importance of nonlinear source-filter theory in singing. In nonlinear source-

filter theory, it is thought that some of the acoustical energy is reflected back onto the vibrating

vocal folds.65 While this acoustical reflection occurs only in certain circumstances, it raises the

57. National Center for Voice and Speech, “Vocal Ring, or The Singer’s Formant,” Last modified
n.d. Accessed March 18, 2016, http://www.ncvs.org/ncvs/tutorials/voiceprod/tutorial/singer.html.
58. Bozeman, Practical Vocal Acoustics, 17.
59. Ibid., 107.
60. Johan Sundberg, The Science of the Singing Voice (Dekalb, IL: Northern Illinois Press, 1987),
121.
61. Dayme, Dynamics of the Singing Voice, 130.
62. Bozeman, Practical Vocal Acoustics, 17.
63. Ibid., 32.
64. James Stark, Bel Canto: A History of Vocal Pedagogy (Toronto: University of Toronto Press,
1999), 46.
65. Bozeman, Practical Vocal Acoustics, 43.
 16

importance of a finely tuned vocal tract, as it can have positive benefits upon phonation, creating

more efficient vocal fold closure. This acoustical energy requires the singer use less airflow

without demanding more muscular effort to close the vocal folds. Furthermore, the freedom

induced in the larynx helps to form and maintain a convergent resonator space (an inverted

megaphone-shaped vocal tract with a larger opening near the glottis and more closed opening

near the lips), a stable laryngeal position, an open throat, and a narrowed exit of the epilaryngeal

tube.66

Registration

Division and number of registers and the way they are unified is controversial among

scholars and teachers. Often, registration is an individualized element of a singer’s technique.

However, two key factors dominate the technical discussions related to it. These include:

 Laryngeal registration - the muscular action in the larynx (thyroarytenoid dominance vs.
cricothyroid dominance).67

 Vowel modification – adjusting the vowel (vocal tract shape) to achieve even timbre
across all sung registers.

Laryngeal Registration – Thyroarytenoid Dominance vs. Cricothyroid Dominance

To more clearly define the physiology of registration, modern voice scientists and scholars
take the position there is a dynamic balance between the thyroarytenoid muscle (TA) and
cricothyroid muscle (CT).68 In this view, a typical tone in the middle (male) to lower voice (male,
female) is created with a dominance of the thyroarytenoid muscle (thyroarytenoid-dominant
production, TDP) through its shortening and thickening muscular contractions. This muscular
adjustment is known by several terms, e.g. chest voice, modal voice, or the heavy mechanism. In
contrast, higher pitches show a strong involvement of the cricothyroid muscle. This type of
adjustment, termed cricothyroid-dominant production (CDP), is traditionally called head voice,
the light mechanism or loft voice.69

66. Ibid.
67. McCoy, Your Voice, 65.
68. Bozeman, Practical Vocal Acoustics, 92.
69. McCoy, Your Voice, 65-67.
 17

Dynamic Interplay

Regarding registration, interplay between the muscles is dynamic during singing. Oren

Brown best summarized adjustments these muscles make in balancing registers.

I like to use the following diagram to illustrate the interplay between the two principle
registers: falsetto (Register 3) [cricothyroid-dominant production, CDP] and chest voice
(Register 2) [thyroarytenoid-dominant production, TDP]: The whole represents the
integrated voice, from top to bottom. If the full, even range of the voice were represented
by outside lines, there would be a mixture of light to the bottom of the range and heavy to
the top of the range in varying proportions of muscular input. In soft, high singing there
would be less activation of Register 2 adjustment [TDP] and in loud singing, more.
Throughout the range, the proportion of light and heavy is constantly changing, I realized
the illustration is idealized, but I haven’t found a better way to represent what we are
striving for.70 (See figure 2.1.)

Figure 2.1. Interplay between Registers71

Vowel Modification

Vowel modification throughout the singer’s range is necessary to achieve an even scale.

Ralph Appelman stresses this point, saying,

One of the main objectives of the singers of the bel canto was the development of a vocal
scale that was pure, unbroken, and uninterrupted. The transition of registers - either up or
down the scale - demanded a modification in the tonal color of the topmost notes to
prevent them from becoming disagreeable and harsh and to preserve the quality of the
vowel sound as well as an even tonal line.72

70. Brown, Discover Your Voice, 54.

71. Ibid., 55.
72. D. Ralph Appelman, The Science of Vocal Pedagogy: Theory and Application (Bloomington,
IN: Indiana University Press, 1967), 90.
 18

Singer’s Control Over Acoustical Breaks

To reiterate, vocal resonance is created through the interplay of harmonics (created by the

vibration of the vocal folds) and formants (created by the filtering of these harmonics in the vocal

tract). While the fundamental frequency of the first harmonic (the written pitch) is not chosen by

the singer but rather dictated by the composer, the only control over balancing resonance is

through the adjustment of the vocal tract.73 This adjustment of the vocal tract is called vowel

modification, with the singer adjusting primarily the first and second formants since these two

formants play the principal role in defining the vowel. The formants above this range (formants 3,

4, and 5) should generally remain stable because they are necessary for maintaining a consistency

of timbre.74

Relationship Between Harmonics and Vowel Formants

The general range in which a singer sings has strong implications as to how male and female

singers achieve an even scale. This is due to the fact the acoustical adjustment needed for lower

pitches differs from higher pitches.

 Lower pitches generally require less adjustment of the vowel (formant tuning) because
the pitch is usually below the first formant. Thus, this means in this lower range, there are
more than enough harmonics to adequately resonate the first, second and higher formants.
This factor has a large effect on male voices due to the range in which they sing.

 Higher pitches, on the other hand, require more adjustment of the vowel as they have
formants spaced more widely apart making it difficult to resonate them.75 This factor
greatly impacts female voices due to their singing range.

Male Voices

Because male singers tend to sing lower pitches than females, the way males approach

registration is different. Four points Kenneth Bozeman makes of the male singer’s approach to

registration are important for the following discussion of the individual treatises:

73. Bozeman, Practical Vocal Acoustics, 20.

74. Ibid.
75. Ibid.
 19

 Male voices will close the vowel as they ascend the scale in an attempt to avoid singing
“too open” or “spread” in the upper range. This open timbre (voce aperta) is what
Bozeman calls “yell timbre,” occurring when acoustic coupling of the first formant and
2nd harmonic is taken too high.76

 Closed timbre (voce aperta) or “turning over” is an acoustical event that occurs in the
male voice through vowel modification to a more closed neighbor of the dictated vowel
(e.g [ɛ] moves to [e]). Acoustically, when the voice “turns over,” the second harmonic
crosses above the first formant.77

 After the singer achieves closed timbre (when the voice has “turned over” into the new
register), the vowel can be opened to allow the voice to avoid what Bozeman called
“whoop” timbre, “a hootier” more head-based timbre. By opening the vowel, the singer is
able to maintain a more virile timbre and, at the same time, stay in the closed quality.78

 Bozeman noted elite operatic male voices usually employ second formant tuning to create
a masculine ring in the upper range (modification to vowels that have a higher second
formant, e.g. [a] moves [æ]). This is particularly true of premier tenors.79

Female Voices

Bozeman further describes important attributes of the female voice.

 In order to achieve an even scale, women’s voices will need to open the vowel as they
ascend the scale. This is due to the fact that in the upper range of the female voice, the
first formant of the vowel is often lower than the sung pitch.80

 In contrast to men, women generally rely on what he called “whoop coupling.” This
acoustical tuning relies on a strong relationship between the first formant and the first
harmonic, creating a quality that is “hootier” or “headier” and dominated by the
fundamental frequency.

 Similar to some male singers in the upper range, women utilize second formant strategies
for the lower middle voice. However, if this is taken too high, this tactic will result in a
strident tonal quality.81

 Women generally balance resonance in the middle voice through one or two methods:

 Active vowel modification in the middle voice (on the staff). Women will move
to a more closed neighboring vowel as they ascend the scale ([a] to [ʌ]). They
will therefore arrive at the headier “whoop timbre” earlier.

76. Ibid., 21-22.

77. Ibid., 23.
78. Ibid., 24.
79. Ibid., 29.
80. Ibid., 32-33.
81. Ibid., 29.
 20

 Maintaining vocal tract shape by retaining a low laryngeal position and a closed
vowel resulting in headier more closed timbre in the middle voice (on the staff).
The sung tone will eventually arrive in full “whoop timbre” an octave higher.82

 Countertenors (male falsettists) tend to use the same resonance strategies as women.83

Implications of This Discussion for This Dissertation

The above discussion reconciles present-day thinking related to fundamental attributes of

modern singing and the teaching of singing. Pedagogues reviewed in the next chapters

incorporate these aspects - respiration, phonation, resonation, and registration - but are not

consistent in the way they use and explain them. Much has been learned about the science of the

voice and mechanics of singing since the early writing of Mannstein in 1848 to the 20th century

work of Husler (1965). Therefore, the review that follows reflects my interpretation of these

authors' treatises using the most literal reading and analysis of their work.

82. Ibid., 28.

83. Ibid., 32.
 Chapter 3: HEINRICH FERDINAND MANNSTEIN
(STEINMANN) (1806-1872)
Die grosse italienische Gesangschule (1848)
Heinrich Ferdinand Mannstein was a singer, voice teacher and author. He was well known for

his writings in the field of vocal pedagogy and musicology, and his pastime later in life, writing

novels.

Biographical Sketch

Mannstein was born in Berggießhübel Pirna in Saxony in 1806. As a boy, he was a student at

the Kreuzschule in Dresden and the Thomasschule in Leipzig.84 Perhaps it was at these schools

where Mannstein’s interest in singing first developed, since both schools had a strong choral

tradition for boys (the Thomaskirche being the church where Johann Sebastian Bach had

previously served as cantor). As a young man, Mannstein was influenced by his father’s strict

orders to study theology at the University of Leipzig.85 After graduation, he found it difficult to

find a job in the field of theology and was forced to choose a different career path. He chose

music.

In 1829, Mannstein was hired as a bass in the chorus of the Hoftheater in Dresden. His

attractive voice drew the attention of the well-respected voice teacher, Johannes Aloys Miksch

(1765-1845). Miksch invited Mannstein into his studio,86 which consisted of singers such as

Wilhelmine Schröder-Devrient, Ferdinand Sieber, Johann Gottfried Bergmann, among others.87

Training Mannstein received from Miksch was based on the old Italian tradition of the castrati, in

84. Fürstenau Moritz, "Mannstein, Heinrich Ferdinand," Allgemeine Deutsche Biographie 20

(1884), 211-212.
85. Ibid., 211.
86. Ibid., 212.
87. Historische Kommission bei der Bayerischen Akademie der Wissenschaften, F., “Miksch,
Johannes Aloys” in: Allgemeine Deutsche Biographie 21, (1885), 726. Last modified November 11, 2014.
Accessed March 2, 2016. http://www.deutsche-biographie.de/sfz63324.html#top.

21
 22

particular the Bolognese school of Antonio Bernacchi (1690-1756). The Italian principles Miksch

imparted to Mannstein significantly influenced his views on vocal pedagogy.

Although very little is known about the success of Mannstein’s teaching, his books were

highly regarded by contemporary German singers and teachers of singing. His most notable work

was his original treatise, Die grosse italienische Gesangschule (1848). It was revised in the

second edition as Das System der großen Gesangschule des Bernacchi von Bologna. Later in his

life, Mannstein followed other interests, writing his own novels and later gaining employment at

the Saxon Court as a stenographer.88

Place in History

Mannstein exemplified the strong influence of the Italian tradition upon German vocal

pedagogy in the early nineteenth century. German technique at this point was based primarily on

the method of the Italian castrati, notably Tosi (1653-1732). Tosi’s influence was a result of

Johann Friederich Agricola’s translated version of his treatise Opinioni de’ cantori antichi, e

moderni o sieno osservazioni sopra il canto figurato. This work titled Anleitung zur Gesangkunst

(1757) served as the foundation for vocal pedagogy in Germany during the late eighteenth

century and first half of the nineteenth century.89

Mannstein’s link to the Italian school was historically important because his writing

demonstrates the strong influence the Italian method had on German singing. Later authors,

specifically Schmitt, Hey, Müller-Brunow, and Armin, decried this influence. Because of this,

they were inspired to develop their own unique method which have come to be recognized as

Germanic principles. In spite of this, many pedagogues continued to employ Italian methods

similar to Mannstein's in their own teaching.

Aim of Mannstein's Treatise

Mannstein provided German and other singing audiences insights into the old Italian tradition

88. Moritz, "Mannstein, Heinrich Ferdinand," 212.

89. Stark, Bel Canto, 60.
 23

of singing. He boldly presented his views on the Italian principles promulgated by the famous

castrati and Italian singing teacher Antonio Bernacchi (1690-1756).

Structure of Die grosse italienische Gesangschule

Mannstein approached his treatise with a short review of the theory of vocal pedagogy and

quickly moved to address practical applications. His writing was presented as follows:

 Theoretical section, reviewing technical aspects of the voice, including physiology,

respiration, onsets, voice categories, registration, and rehabilitation methods for ill voices;

 Practical section, dealing with issues such as classification of voices, posture, sound
production, agility, portamento, and the blending of registers;

 Acquisition of agility, covering all aspects of agility from scales to trills;

 Aesthetics of singing, presenting issues related to stage presence, diction, and

expression;

 Preservation of the voice, describing specific issues regarding vocal health to the
duration of practice periods;

 Exercises and repertoire, a section containing vocalizes as well as selected songs

and arias to use for pedagogical purposes.

Respiration

Process of Breathing

The type of inhalation Mannstein prescribed was based upon the Italian principles of the

castrati.

Breathing for Speaking vs. Singing

Mannstein believed the breathing process for speech differed from singing. He described this

process in two steps:

1) Upon inhalation the abdomen expands, while the chest moves forward;

2) Upon exhalation both areas move immediately back to the same position.

Due to immediate collapse of the chest, this type of respiration was not beneficial for singing.90

90. Mannstein, Die grosse italienische Gesangschule, 7.

 24

In contrast when singing, Mannstein thought the singer needed to maintain expansion of the

ribcage. He emphasized two points to achieve this.91

1) Upon inspiration, the chest of the singer should expand, while the abdomen should be
quickly “pulled in;”

2) Upon expiration, the rib cage should move slowly back to its original position, thus
delaying the exhalation process.

Mannstein’s description of breathing suggests a technique of pancostal breathing, in which

the abdominal muscles are tightened upon inhalation. This tightening thus halts the displacement

of the viscera and the expansion of the abdomen. Vennard notes this method was often advocated

as it was believed that the action assisted the diaphragm in propping up the rib cage.92

This method, apparently popular in nineteenth century Germany, resulted in less efficient

breath control as blocking abdominal expansion does not allow for full descent of the diaphragm.

Among its enthusiasts was the famous soprano Lilli Lehmann (1848-1929) who used this method

for twenty-five years at the beginning of her career until she was better instructed by an Italian

colleague to relax the abdominal muscles for inhalation.93

Therefore, the question is whether or not the method Mannstein advocated was truly based on

Italian principles (which he sought to exemplify) since the breathing method of the Italian

tradition incorporates expansion in both the abdomen and lower ribs (diaphragmatic-costal

breathing, appoggio).94 It is likely he only partly understood the Italian model, regarding the

expansion of the rib cage as the most important aspect of breath support, and believing wrongly,

that holding the abdominal muscles tightly during inhalation would allow for more rib expansion

and, thus, better breath control.

91. Ibid., 7.
92. Vennard, Singing, 24.
93. Marek, Singing, 68.
94. Miller, Solutions for Singers, 1-4, 11.
 25

Other Aspects of Respiration

Inaudible Breath

Proper breathing was to also occur without any audible sounds such a “moaning or sighing.”

Mannstein believed an audible inhalation would disrupt the physiological function of respiration

as well as musical expression.95

While Mannstein’s support of pancostal breathing is clearly not an aspect of the Italian

tradition, emphasis on “silent” inhalation is. Silent inhalation is a chief trait of the technique of

appoggio and its presence suggests elastic freedom within the vocal tract and the breath

musculature.96

Posture

Posture too played an important role in the breathing process, setting the conditions for

proper breathing. If posture was not correct, the singer could not breath properly.97 To illustrate

this, Mannstein used a hypothetical visual, explaining that if the singer's head lowered during

phonation, the improper position of the head would crush the larynx.98 In addition to the purely

functional reasons for maintaining correct body alignment, Mannstein felt that without proper

posture, the singer's stage presence would be negatively affected.

When teaching breathing, Mannstein recommended only practicing in combination with

phonation. He believed exercises focusing solely on respiration were not beneficial. Through

those types of exercises, the singer would never learn an economy of breath control.99

Mannstein’s ideas about posture were correct. Posture sets the right conditions for proper

breathing for singing.100 His views corresponded directly to the majority of writings on vocal

pedagogy from the baroque period to present day and tied him to the Italian tradition that he

wished to replicate.

95. Mannstein, Die grosse italienische Gesangschule, 7.

96. Miller, Structure of Singing, 29.
97. Ibid., 25.
98. Ibid.
99. Ibid., 7-8.
100. Miller, Solutions for Singers, 39.
 26

Resonation

Mannstein's sought to develop a chiaroscuro (light and dark) tone in his students. Two points

from his treatise demonstrated this: 1) his discussion of the different types of tonal possibilities,

and 2) the importance of proper mouth position in singing.

Types of Tone

Mannstein maintained there were three different possible types of sung tones associated with

different resonance. These types were: 1) the laryngeal/throaty tone (Kehlton), 2) the nasal tone

(Nasenton), and 3) the balanced tone (sound placed at the hard palate).101

Kehlton (Throaty Tone)

Mannstein described the laryngeal/throaty tone as a tone that falls into the “vault” of the

pharynx. This tone sounds dampened and had a strong correlation with pressed phonation.

Mannstein felt that to a trained ear, the sound was unbearable and was typical of the bass voice

type.102 To correct this sound, he suggested gently pressing on the larynx while singing. This was

meant to relieve tension and pressure there.103

Nasenton

Mannstein stated this was a tone that struck the posterior nasal apertures, termed the choanae.

This sound was associated with nasality in the tone, which he described as "reprehensible.”104 To

correct this fault, Mannstein directed the student to pinch his nostrils while singing. If the tone

changed, nasality was present in the sound.105 Through this correctional tool, the student was able

to develop awareness of the faulty tone.

Balanced Tone

Mannstein viewed the balanced tone as strongly connected with sympathetic resonance felt on

101. Ibid., 32.

102. Ibid., 33.
103. Ibid., 37.
104. Ibid., 34.
105. Ibid., 37.
 27

the hard palate. This tone, in his view, was most desirable because of its flexibility, full body, and,

in his words "noble" characteristic.106 This tone was both light and dark - chiaroscuro. Techniques

to correct the Nasenton and the Kehlton (i.e. touching the larynx, and pinching the nose) assisted

in developing the balanced tone.107

Mouth Position

Mannstein felt the proper mouth position was necessary to achieve a chiaroscuro tone. He

listed these rules to form a correct mouth position.

 Mouth should have an elliptical or oval shape; this is the only position that allows a proper
[a] vowel to be sung;

 Teeth need to be an inch apart;

 Jaw should not move forward or sideways; lips should be tensed;

 Tongue should lie flat and stretched, touching the lower teeth, and should avoid a “well
shape;”

 The upper lip should not be pulled down over the front teeth; it will dampen the sound;

 Proper mouth position should be formed before the onset of the tone;

 Mouth position should not change when the same vowel is sung consecutively, e.g., Ach,
arme Anna; Es lebe Edward;

 Jaw, lips, and tongue should not move or tremble in agility passages or trill positions.108

While Mannstein never mentioned the term chiaroscuro (a tonal quality that is both light and

dark, i.e. balanced), his discussion suggested this was his tonal preference. This notion is inferred

as the two aesthetically unpleasing tonal qualities he mentioned are at the extremes of this balance,

i.e. “nasal” tonal quality corresponding to too light a timbre (chiaro), and a “throaty” tonal quality

to too dark a timbre (scuro). Likewise, the tonal quality he promoted was between these two - it is

balanced, or chiaroscuro (both light and dark).

106. Ibid., 39.

107. Ibid., 37.
108. Ibid., 46-48.
 28

In addition, all elements he suggested for creating the correct mouth position prepare for this

balanced tonal quality. His instructions demonstrated he was asking the singer to “open the

throat” through these three actions:

 Reflex action of the zygomatic muscles lifting the soft palate, by creating an
oval mouth position and not pulling the upper-lip down;

 Placement of the tongue forward with the tip at the lower front teeth, thereby
opening the pharynx;

 Freeing the jaw by maintaining a similar mouth position for repetition of the
same vowels (inner-diction).

Phonation

Mannstein stressed the importance of the onset and its effect on voice production in his

discussion of phonation. He listed four characteristics of a correct onset.

 Onset should avoid any unwanted sound during the attack (e.g., an [h] as heard in a
breathy onset, or a glottal plosive);

 Tone is made freely and quickly, avoiding any “scooping” in pitch, e.g., 2nd, 3rd, 4th or
5th;109

 Tone is prepared by a slight opening of the mouth. If the mouth is too open the tone will
have a “careless, crying” quality;

 Tone should not be pushed out of the mouth, but rather “drawn inward”, corresponding to
the old Italian idea of “filar il tuono” (spinning of tone).110

Mannstein’s instruction to “spin the tone” (filar il tuono) and the visual of a tone that is

“drawn inwards” reflect the coordinated balance of subglottic air pressure needed between the

vocal folds, the breath, and the respiratory musculature to achieve balanced or flow phonation.

This imagery was beneficial to clarify a chief characteristic of the Italian breathing method of

appoggio in which dynamic interplay between the phonatory and respiratory muscles is at

work.111

109. Ibid., 8-9.

110. Ibid., 36.
111. Miller, Solutions for Singers, 1.
 29

Registration

Mannstein's treatise included a thorough discussion of registration, including classification of

voices, registration points, and the importance of falsetto/head voice.

Tetrachords (Passaggio Points)

He viewed the voice as divided into tetrachords (an area of four pitches within the span of

five semitones). These passaggio points marked an area where the singer needed to adjust the

voice so that no change in sound quality would be heard.112 He noted these “breaks” in vocal

timbre could be identified by the voice teacher through observation of three qualities in the

student: changes in tonal quality, raising of the student’s eyebrows, and/or the singer becoming

red in the face.113

An example of register breaks in the tenor voice is noted in the score below. The first

tetrachord occurs from A2-D3 with a break, the second E3-B3, and the third from C4-G4.114

Mannstein believed the singer should bridge these tetrachords so there was no audible change in

tone quality. This was, he felt, the mark of a fully developed singer.115

Figure 3.1. Tetrachords of the Tenor Voice116

Number of Registers

Mannstein thought the human voice had two distinct registers (with the exception of the

soprano voice). He named these two registers head voice and chest voice. As noted above

regarding passaggio points, the mark of a good singer was a balanced scale, where no audible

112. Ibid., 12.

113. Ibid., 13-14.
114. Ibid., 16-17.
115. Ibid., 15.
116. Ibid.
 30

changes in tone quality would be heard. To achieve this, Mannstein believed that registers had to

be blended. He illustrated this balance in the soprano voice saying that, because the chest voice

was so strong, the middle voice (an area where more head voice is mixed in) had to be

strengthened as a counterbalance, while head voice had to be mellowed.117

In developing this balance between registers, Mannstein suggested singers find the point

where the two registers meet (i.e. a pitch at the break between head and chest voice). On that

pitch, students were then to alternate between sung chest and head tones, allowing for a

momentary pause between the two. By juxtaposing these register adjustments, the quality of the

two tones would eventually blend into one quality, i.e. a unified balanced tone.118

It is clear from Mannstein’s discussion of registration he placed significance on a dynamic

balance between chest voice and head voice. Modern scholars would describe this as a balance

between thyroarytenoid-dominant production (chest voice, TDP) and cricothyroid-dominant

production (head voice, CDP).

Practical methods Mannstein recommended for balancing registers, however, were more

imprecise. He gave clear instructions the singer should blend registers by singing notes at

passaggio points first in a chest quality (TDP) immediately juxtaposed with a head quality

(CDP). However, he was not clear if the adjustment should deal with laryngeal registration (the

laryngeal muscular adjustment), the acoustical concerns in registration (vowel modification), or

elements of both.

This is an ill-defined topic, creating confusion among modern voice teachers and scientists.

The answer is two-fold. On one hand, there is certainly a major element of laryngeal muscular

adjustment as the muscular balance between TDP and CDP is constantly changing throughout a

singer’s range. However, primarily what the listener hears as “turning over” or switching registers

117. Ibid., 90.

118. Ibid., 91.
 31

is acoustical.119 Consequently, while Mannstein did not mention adjusting the vowel to achieve an

even timbre throughout the range, he likely supported some element of passive vowel

modification. Only then, could the voice achieve a truly even timbre.

Falsetto120

Mannstein valued falsetto; however, he noted that it was often disregarded by voice teachers

in his day. This, he believed, was a mistake. He asserted that without falsetto the singer would

have significant difficulty in the upper range. Mannstein cited the bass as being the singer who

typically avoided falsetto, leading to a disjunctive voice and scale.

Mannstein’s comments on falsetto demonstrate unmistakably that he recognized the need to

strengthen the falsetto mechanism, believing it reinforced the voice as a whole. This approach

was likely beneficial to his students since it exercised and strengthened the musculature of the

upper two thirds of their range. This musculature, primarily the cricothyroid muscle, tends to be

weaker than the muscle associated with lower pitches, the thyroarytenoid. This is a result of many

singers’ tendency to speak in the lower third of their range on a daily basis.121

Other Important Aspects

Agility and the messa di voce were two points Mannstein emphasized in his treatise.

Agility

Mannstein believed agility was vital to the singer’s development and, without this, the voice

could not fully develop. He emphasized four points affected by agility.

 Create a good quality of tone on each pitch with proper intonation;

 Achieve perfect tonal quality (a balanced tone);

 Learn to overcome the problems of singing;

 Learn strength and power.

119. Bozeman, Practical Vocal Acoustics, 26.

120. Ibid., 12.
121. The Voice Foundation, “Therapy for Singers Part 1, Brown,” The Voice Foundation
Archives. Last modified October 29, 2015, Accessed March 1, 2016,
https://www.youtube.com/watch?v=8VpgvqN-53o.
 32

To acquire agility, Mannstein listed the four following guidelines:

 Notes should be connected (legato) and articulated at the same time;

 Mouth position should not change;

 The body should not move (extraneous movement);

 Very little air should be used in the larynx.122

Messa di voce

Mannstein promoted the idea that the messa di voce was the only element the singer could

use to create a breath connection with the upper register. Using this technique, the singer was

made aware of the amount of pressure the voice could tolerate.123 Mannstein adhered to the old

Italian theory that, through the practice of the messa di voce, the singer would gain strength,

flexibility and a powerfully expansive breath.124

Mannstein identified five rules to achieve a proper messa di voce:

1) No pressure from the chest register (i.e. glottal pressure, like a hard cough) should occur
at the beginning or the end of a tone;

2) Mouth position should open for a louder dynamic, but vowel purity should not change;

3) Singer must maintain a posture consisting of an expansive chest and “pulled in”
abdomen;

4) Messa di voce should be practiced until a student can perform the entire exercise over
twenty seconds; after the [a] vowel is mastered, the student should move to [e]; and then
continue to the other vowels;

5) When practicing ascending and descending scales, the student should breath after each
tone.

Summary of Mannstein's Treatise

1) Place in History

 His treatise demonstrated the influence of Italian singing in Germany in the nineteenth
century.

122. Ibid., 111.

123. Ibid., 41.
124. Ibid.
 33

2) Respiration

 Optimal breathing for singing consists of 1) upon inhalation, the singer expands the rib
cage and pulls in the lower abdomen; and 2) upon exhalation, the singer strives to
maintain expansion of the chest, thereby delaying movement back to the body’s resting
position. Mannstein’s description suggests a method of pancostal breathing.

 Inhalation should be silent, preferred for vocal production and artistry.

 Breath exercises without phonation are not useful.

3) Resonation

 There are three types of vocal tones: 1) nasal tone (Nasenton), 2) laryngeal tone
(Kehlton), and the 3) balanced tone. The balanced tone, which corresponds to a
placement point at the hard palate, is the ideal tone. Mannstein’s writing suggests he was
an advocate of a chiaroscuro tonal quality.

 Mouth position is critical to finding the proper artistic tone. Mannstein’s description
suggests the creation of an “open throat” formed by lifting the soft palate through the
reflex action of the zygomatic muscles, opening the pharynx by maintaining a forward
tongue position, and freeing the jaw through inner-diction.

4) Phonation

 The onset should avoid any unwanted sound during the attack (e.g.[h] as in a breathy
onset, or a glottal plosive).

 Student should avoid any “scooping” in pitch when making an onset.

 The onset is made freely and quickly.

 The onset is prepared by a slight opening of the mouth; if the mouth is too open, the tone
will have a “careless, and crying” character.

 Tone should not be pushed out of the mouth, but rather drawn - “filar il tuono” (spinning
of tone).125 This idea addresses the issue of the balance of subglottic air pressure between
the vocal folds, breath, and respiratory musculature.

125. Ibid., 36.

 34

5) Registration

 All voices other than the soprano have two registers - head voice and chest voice. To
unify these registers, Mannstein likely advocated for some aspect of passive vowel
modification.

 Falsetto should not be avoided; it is important to the function and development of the
voice.

6) Other Important Aspects

Agility
 Is fundamental to the development of the voice.

 Is a way to achieve good intonation, a balanced tone, and strength and power.

Messa di voce

 Is a method to gain strength, flexibility, fullness of tone, and a powerful expansive breath.

 Is the sole method to connect breath with the upper register.

 Chapter 4: FRIEDRICH SCHMITT (1812-1884)
Große Gesangschule für Deutschland (1854)

Friedrich Schmitt was a professional operatic tenor and a well-known pedagogue who is

credited with the first attempt to create a singing school designed on German principles.

Biographical Sketch126

Schmitt was born in Vienna in 1812. He began his vocal studies in Darmstadt, studying voice

with Ch. Mangold (full first name unknown) and later continuing in Munich under Stuntz (first

name unknown). His first engagement as a singer was at the Hofoper in Munich (1833), singing

in L.J.F. Hérold’s Zampa. Because of Schmitt’s success with the production, he was asked to join

the ensemble of the Hofoper for the following season. During his time in Munich, he sang roles

such as Alphonse in La muette de Portici and Raimbaut in Robert le diable. In 1834, Schmitt left

Munich for an engagement in Magdeburg (1834-35). Later he joined the ensembles in Leipzig

(1835-36) and Dresden (1836-37). Because of vocal misuse, Schmitt lost his voice early in his

career and his last professional performances were in Dresden in 1837. In search of a new career,

Schmitt turned to teaching voice.

Schmitt’s first teaching job was in Munich, where Richard Wagner invited him to join the

newly formed Deutsche Musikhochschule. In fact, it was Wagner who entrusted Schmitt with the

work of developing a new technical approach to singing based on German principles.

Unfortunately, a later quarrel with Wagner led Schmitt to leave Munich for Berlin where he

continued to teach voice. Among Schmitt’s students were Julius Hey, Fritz Plank, Anton

Schittenhelm, and Josef Neydhart. Hey, one of his most famous students, had a significant impact

on vocal pedagogy. He went on to advance Schmitt’s ideas, creating a fully developed German

approach to singing described in his singing manual, Deutscher Gesangs-Unterricht (1884).

126. Karl J. Kutsch, Leo Riemens, and Hansjörg Rost, Grosses Sängerlexikon Bd. 6 (München:
Saur, 2003), 4234.

35
 36

Place in History

Friedrich Schmitt was the first pedagogue to attempt a singing method based on German

principles. Wagner was a strong supporter of his work, considering it to be the technical basis for

performing German opera during the mid-1850s.127

Problems with Contemporary Methods

Schmitt saw many problems with the contemporary approach to vocal pedagogy in Germany.

He believed talented German students were forced to study in foreign countries because of the

lack of good teaching in their home country.128 He was disappointed too there were few good

singing teachers in Germany, and of those few, the majority were trained in foreign countries.

Additionally, he saw problems with the principal methods (French and Italian influence) being

taught in Germany at the time, suggesting they lacked organization. Furthermore, Schmitt thought

German singers lacked technical precision (e.g., trill) and he took the position that "99 of 100

singers’ voices would be ruined" by poor teaching.129

Aim of Schmitt's Treatise

Schmitt's treatise addressed the problems he identified with contemporary teaching methods

by refocusing these issues into five clear purposes.130

 Young singers could be trained in Germany, rather than being sent to foreign countries;

 German teachers would have a resource to help them teach singing;

 Singers who needed further training would have a reference to assist in their individual

study;

 Instruction would be available for a more natural, simpler approach to teaching singing;

 There would be an end to "sick and ruined voices" through a safer, natural, more tasteful
approach.

127. Hey, Deutscher Gesangs-Unterricht, 3-4.

128. Schmitt, Grosse Gesangschule für Deutschland, 3.
129. Ibid.
130. Ibid., 10.
 37

Structure of Große Gesangschule für Deutschland

Schmitt presented his ideas by first detailing his rationale for the existence of a newly formed

German singing school, specifying the principles to achieve good function. In this first section of

his treatise, he discussed the following issues related to singing:

 Problems with current teaching methods;

 Critique of current singing practices;

 Principles for his systematic approach delineated by:

 Construction of the voice as instrument, addressing breathing, resonance, intonation,

connection of “so-called” registers, and the development and beautification of the
voice;

 “Technical education” of the voice as an instrument, addressing issues of onsets,

connection of tone with and without portamento, coloratura (agility), and messa di
voce;

 Intellectual education (geistige Ausbildung) of vocal study, commenting on aspects

related to material properties (where in the music a singer should breathe, clear
diction, musical accent and rhythm, precision, nuances);

 Intellectual properties including correct character portrayal, expression of sentiment

(Empfindung), "the fire of zeal,” “grace of word and tone,” and good taste.

 Additional points related to range and register, breathing, process of studying voice,
and vocal health.

A second section focused on vocalizes and teaching philosophy. Schmitt covered the following

points:

 Solfege study;

 Difficult agility patterns;

 Exercises with various leaps;

 Acquisition of proper dynamics (piano, forte, and others);

 Trill;

 Portamento;

 Staccato.
 38

Respiration

Breathing for Singing

Schmitt saw the process of respiration for singing as being different from speaking. When

singing, he emphasized expansion of the chest during inhalation, saying this position should be

maintained throughout phonation. However, in contrast to the Italian method that advocated a

comfortable elastic expansion of the rib cage, Schmitt recommended a more muscular position to

allow for full lung dilation. In addition to this chest position, the tongue was to lie flat in the

mouth with its tip resting at the lower front teeth. To achieve the correct breath, Schmitt listed the

following specific instructions:131

1) During inspiration:

 The breath should be taken as quickly as possible;

 It should fill the entire chest area;

 The breath should be silent.

2) During phonation:

 The lower body should be pulled in;

 The mouth should be opened widely;

 The tongue should lie completely flat;

 The chest should be lifted.

3) Action of the "full" expanded chest132 (filling the lungs to maximum capacity):

 During phonation, the chest should have the feeling that it remains expanded or full.
If the singer feels it is not full, he should take two or three additional breaths;

 While exhaling or phonating, the singer should feel that expansion continues, as if the
air is held in;

 In the beginning of study, as little air as possible should be expelled. As the student
progresses in learning how to sing, more and more air will be released as she learns
breath control.

131. Ibid., 28.

132. This model of an expanded chest position was important to the German singing tradition
since it served as the basis (rightly or wrongly) for George Armin’s Stauprinzip.
 39

Schmitt’s description of breathing for singing reflects aspects of diaphragmatic-costal

breathing since he emphasized expansion of the lower rib cage. Furthermore, while there is no

mention of expansion in the abdomen, he does not advocate a “pulling in” of the abdominal

muscles upon inhalation, a chief trait of pancostal breathing.

While his writing suggests he was teaching diaphragmatic-costal breathing, modern

pedagogues would likely take issue with Schmitt’s emphasis on chest expansion. Schmitt’s

instruction that the singer fill to “maximum capacity,” and, if the singer felt he had not achieved

this expansion, “to take additional breaths,” suggest that he was asking his students to

overbreathe.

Current thinking supports a dramatic expansion of the rib cage and abdomen but with the

recommendation this expansion remain flexible.133 Flexibility is a telling sign the singer is not

overfilling.134 Nevertheless, the emphasis Schmitt placed on overexpansion is an important

historical point, as it significantly influenced later pedagogues, namely George Armin.

Also of concern to present-day views on respiration would be Schmitt’s instruction for a

breath to be “taken as quickly as possible.” While a singer must often breathe quickly (what

Garcia called mezzo respiro, or a catch breath), many modern teachers, like the teachers of the bel

canto, believe slow inhalation (what Garcia called respiro, or full breath) to be the basis for

breathing.135 In other words, when given the chance to inhale slowly, the respiratory muscles are

able to expand without excessive tension. This current practice may be due to the strong influence

of Italian technique on modern day methods. When comparing this slow long breath (respiro) to

Schmitt’s quick breath (mezzo respiro), one can clearly see an example of Schmitt’s divergence

away from the Italian tradition.

133. William D. Leyerle, Vocal Development Through Organic Imagery (Geneseo, NY: Leyerle
Publications, 1986), 106.
134. Dayme, Dynamics of the Singing Voice, 87.
135. Marek, Singing, 76.
 40

Resonation

Nasal Singing

Schmitt stressed the importance of nasality, i.e. directing the tone through the nose.136 In his

view, nasality gave the voice a round, metallic, sonorous sound that would "fill a hall.” He stated

it was a "happy day" when the student was able to find a nasal tone.137

For students unable to find the nasal quality, Schmitt recommended using [i] and [e] vowels.

When singing these two vowels, the tongue was in a high arched position. He believed this

position would allow the sound to be easily directed through the nasal sinuses. Schmitt suggested

the soprano voice did this naturally.138 Another option to achieve nasality was through the use of

nasal consonants, such as [n]. Schmitt noted, however, the use of consonants was to be the last

option in finding this nasal quality. He did not mention a reason for this.139

Schmitt’s points on resonance are imprecise. It is not clear if he was advocating for an actual

“nasal” tonal quality or merely promoting a balanced tone that resulted in the singer sensing

sympathetic nasal resonance. Most likely he preferred the latter, since a “nasal” sound would not

have the carrying power nor the “round” tonal quality he described in his writing. Thus, he was

probably describing his sensation of what felt like a “nasal” sound.

Mouth Position

In Schmitt’s view, the mouth position of the singer was critical to the quality of tone. The singer

was to form the mouth according to two principles:

 Tongue - the tongue should lie forward and flat in the mouth. If the singer had difficulty
with the tongue lying forward, a teacher was to use a pair of tongs to pull it into the
correct position. Schmitt in fact created a model prototype of these tongs.

 Mouth position - the mouth should be open as “wide” as possible for all vowels,
particularly on high notes. There should never be a grimace and the mouth should
maintain and oval position.140

136. Schmitt, Grosse Gesangschule für Deutschland, 15.

137. Ibid., 16.
138. Ibid., 15.
139. Ibid., 16.
140. Ibid., 27.
 41

Schmitt’s description related to the correct mouth position for singing is also difficult to

interpret. The phrase Schmitt used to describe this mouth position literally translates to “the

mouth must for all vowels be opened as wide (weit) as possible, especially for high notes.”141 It is

unclear if he intended the mouth to be opened vertically or horizontally.

Considering his direction, it is important to point out a mouth that is too widely opened in the

middle and lower range would be disadvantageous to developing chiaroscuro tonal quality.

Excessive overemphasis of the oral cavity in this range is a poor resonance strategy.142 Yet, in the

upper range, this advice may have been beneficial since a wider mouth opening would open the

vowel and could help the singer achieve the proper vowel modification necessary to maintain a

balanced timbre.143 However, it is important to note the mouth position in the upper range must

be addressed individually. All singers do not conform to a one-only approach that could in fact be

harmful.

One other point regarding resonation deserves attention – a corrective method Schmitt used

for correct positioning of the vocal tract, this being his use of tongs to correct the position of the

tongue. While many voice teachers advocate a forward tongue position and some modern

pedagogues used such devices (e.g. Douglas Stanley’s “tongue instrument”),144 the majority of

modern teachers would find this excessive and actually harmful.

Phonation

Good Onset

Schmitt viewed the onset as vital to creating a good tone. Without a proper onset, Schmitt

thought the tone would be adversely affected, what he called the “lack of melting quality in the

141. Schmitt, Grosse Gesangschule für Deutschland, 27.

142. Bozeman, Practical Vocal Acoustics, 15.
143. Ibid., 29-30.
144. Douglas Stanley, Your Voice: Applied Science of Vocal Art, Singing and Speaking (New
York: Pitman Publishing Corporation, 1945), 75.
 42

tone.”145 In addition, he saw a poor onset as the cause of hoarseness or swelling.146 Schmitt

outlined an approach to teaching the proper onset, which as he said, “allowed for a round tone on

all high and low tones.”147

Schmitt offered the following example to describe the way a singer could create a good onset:

1) Attain good posture, and take a breath;

2) Speak the word “Vater,”;

3) Sing a tone that is “fresh, and short,” like the “stroke of a hammer without any difficulty
or force.”

Schmitt noted the importance of the tongue lying flat during this exercise.148 When this

tongue position, along with posture of the body and mouth position were correct, the balanced

onset would follow.149

Schmitt’s description of the proper onset was very similar to Garcia’s coup de glotte. Thus, it

was likely he was also promoting a precise balanced onset. This onset set the framework upon

which all other aspects of singing (registration, resonation, agility, and others) could be

developed.

Dark Onset

Schmitt believed an onset with a fabricated laryngeal position (i.e. consciously depressed)

was one of the most harmful techniques a teacher could suggest to his students. He felt this “dark

onset” (Schmitt's terminology) damaged the overall vocal health of the student and disturbed

musicality.150

Schmitt’s description of the proper onset was very similar to Garcia’s coup de glotte. Thus, it

was likely he was also promoting a precise balanced onset. This onset set the framework upon

which all other aspects of singing (registration, resonation, agility, and others) could be

developed.

145. Schmitt, Grosse Gesangschule für Deutschland, 14.

146. Ibid.
147. Ibid., 15.
148. Ibid.
149. Ibid., 13.
150. Ibid.
 43

Registration

Number of Registers

In Schmitt's view, attempting to impose the classification of specific “registers” on the human

voice was not appropriate since he believed they did not naturally exist. He viewed the term

“registers” as more suitable to instruments such as the pipe organ. Consequently, he saw the

typical classification of voices, what he identified as chest voice, middle voice, head voice and

falsetto, as being incorrect. In contrast, he believed there was only one register for all voice types

(both male and female), that being chest voice. He did recognize one exception; this was the

presence of an additional register in the tenor voice, the falsetto.151

Schmitt’s description is somewhat misleading. While he believed there was only one general

register, later in his treatise, he softened his stance on the issue, stating there are moments when

one hears “a sudden abrupt change” between a collection of sung pitches. He specifically

mentioned two such timbral “changes,” this being falsetto in the male voice and an “isolated”

register for the lowest part of the alto and soprano voices (likely the traditional view of the chest

register – thyroarytenoid-dominant production).152 From this description, it can be inferred that

while Schmitt actually recognized “registers” in the human voice, he thought it was pedagogically

not useful to think about them, believing a one register approach would best result in a seamless

scale.

Stating this register was “chest voice” and applying it to all voice types, especially women,

is, however, confusing to modern readers. It suggests Schmitt was promoting a chestier,

thyroarytenoid-dominant production (TDP) for female singers throughout their entire range. The

pedagogical implications of such a view are potentially harmful. Nevertheless, his later comment

regarding a different “isolated” low register in the female voice suggests he recognized the

register typically termed “female chest voice” (TDP). As a result, one can infer he did not

151. Schmitt, Grosse Gesangschule für Deutschland, 17.

152. Ibid.
 44

advocate TDP throughout the entire range, but rather a more dynamic balanced laryngeal

adjustment of head (CDP) and chest (TDP).

Falsetto

Schmitt believed falsetto was unique to the tenor voice. He thought it was an important aspect

to the development of this voice type and without it, the singer would not be able to sing any

"modern day" repertoire.153 He saw the technique as particularly useful in teaching tenors how to

find a beautiful color and avoid tension in the upper range.

When teaching falsetto, he noted the difficulties when singing in this register, namely,

bridging falsetto with chest voice, or as he explained, avoiding the “yodel-like break.”154 Schmitt

recommended the following exercises for blending falsetto with the chest register:

 Correct onset;

 Open mouth and proper tongue position (lying flat at the front teeth) must remain
constant;

 Tone should not be timid or held back;

 Phonation should be free and effortless;

 Should only be practiced in pianissimo, particularly when dealing with notes that border
chest and head (i.e. passaggio points).

Schmitt, like Mannstein and later modern-day scholars, recognized the importance of

strengthening the falsetto mechanism. It probably had a positive effect on his students’ singing, as

it would have strengthened and balanced the musculature of the entire voice.

Upper Register

Schmitt set several conditions to access the upper register for all voices:155

 The larynx should rise;

 Glottis narrows;

153. Ibid., 179.

154. Ibid., 15.
155. Ibid.
 45

 Tongue must stay forward and lie flat at the lower front teeth;

 Good onset is necessary;

 The mouth should open slightly for high notes.156

Schmitt believed sympathetic resonance would change when approaching the upper register.

The sound was to be delivered differently compared to the middle and low range. For these

pitches, the sound should flow “through the parts of the head and through the pharynx.” The

singer should feel no pressure in the throat, but instead only in the skull. This resonance change

occurred gradually rather than suddenly.157

Unifying the Scale

Schmitt thought the singer should view register changes with same smoothness as those of a

musical instrument, thereby avoiding abrupt alterations in tone quality. Rather than a pronounced

adjustment, the singer was to make a change that occurred naturally and gradually at passaggio

points.158

In order to unify the scale Schmitt provided only vague methods focusing only on laryngeal

registration with no discussion of vowel modification. He focused on four points:

 Setting good basic conditions of vocalism (onset, tongue position);

 Practicing higher notes softly, suggesting a lighter laryngeal adjustment (cricothyroid-

dominant production);

 Allowing the larynx to rise (a recommendation contrary to the western classical singing
tradition);

 Finding the correct placement, i.e. directing “the tone through higher parts of the head
and pharynx.”159

Schmitt’s instructions to achieve an even scale and access the upper range is slightly

unsettling. He was correct in his assertions that a balanced onset was fundamental, the mouth

156. Ibid., 18.

157. Ibid., 15.
158. Ibid., 17.
159. Ibid., 15
 46

position would likely need to open, glottal closure was greater, and the tongue should stay

forward in the mouth. However, his instruction that the larynx rise was not beneficial for singing

in the classical western tradition.

In order to achieve even registration, tube length of the vocal tract must remain constant.160

This means the larynx should remain in a comfortably low position throughout all registers (with

the exception of the extreme upper range of the female voice, i.e. above Bb5).161 This position

should be created by the reflex action induced by proper breathing.

Other Important Aspects

Diction

Diction was critical to Schmitt’s principles. He felt it was the most essential element in

singing. He saw words as the “most beautiful ornament” giving the singer a more powerful

communicative tool than the instrument.162 His aesthetical view of the importance of the text

combined with Wagner’s requests to create a method to fit his Musikdrama, drove Schmitt to

develop a technique that would make the text more understandable. This focus on diction was one

of the primary purposes in Schmitt’s method.163

Schmitt recommended three strategies to achieve good, clear diction.164

 Sing pure vowels as they would be spoken;

 Assure consonants were strong, but also quick so as to not disturb the flow of the line;

 Maintain the correct vowel color even if a short vowel was on a long sustained note. The
key in achieving this was to maintain vowel purity, without regard for the actual length
of the vowel (short as in “müller,” or long as in “mühle”).

160. Bozeman, Practical Vocal Acoustics, 37-38

161. Ibid., 34.
162. Ibid., 21.
163. Hey, Deutscher Gesangs-Unterricht, 3-4.
164. Schmitt, Grosse Gesangschule für Deutschland, 21.
 47

Summary of Schmitt’s Treatise

1) Place in History

 Schmitt's treatise represented the first attempt to create a school of singing based on
German principles.

2) Respiration

 Breathing for singing is different than speaking and consists of a greatly expanded rib
cage.

 Expansion of the chest is formed during inhalation and maintained throughout phonation.
 Schmitt’s discussion is reflective of diaphragmatic-costal breathing; however, the
emphasis placed on chest expansion suggests over-breathing, an action foreign to
appoggio.

 His view the breath should be “taken as quickly as possible” is contrary to the Italian
tradition and that of many modern voice teachers’ approach of a long slow inhalation
(respiro).

3) Resonation

 Nasality assists the singer’s tone; it is this characteristic that gives color to the voice and
carrying power.

 The forward vowels [i] and [e] as well as nasal consonants are beneficial in finding nasal
resonance.

 Whether or not Schmitt actually advocated a nasal tone is uncertain. His discussion
implies he was supporting sympathetic nasal resonance.

4) Phonation

 The onset is vital to the beauty of tone.

 When all elements (posture, mouth and tongue position) are correct, the onset will be
correct.

 The onset should be “fresh, and short,” like the “stroke of a hammer without any
difficulty or force,” and should be developed from natural speech. The inference from
Schmitt’s discussion was he supported a precise onset similar to Garcia’s coup de glotte.

 A “dark onset” in which the larynx is consciously depressed is harmful to the health of
the singer and disturbs the musical presentation.

5) Registration

 Schmitt stated that all voice types have one register, with exception of falsetto in the
 48

tenor voice. However, later he alluded to the idea there were register breaks the singer
must blend or unify.

 Falsetto is unique and very useful to the tenor; it should be developed and blended with
chest voice.

 Correct acquisition of the upper register depends upon the following aspects:
 Larynx should rise;

 Glottis narrows;

 Tongue must stay forward and lay flat at the bottom front teeth;

 Good onset is necessary.

 The highest notes should move through the parts of the head and pharynx; this is
the major difference between resonance of the upper and lower range.

6) Other Important Aspects

 Diction is the most important aspect of singing; it makes the voice more musically
expressive than the instrument.

 Correct acquisition of diction is achieved by singing pure vowels and strong and quick
consonants.
 Chapter 5: FERDINAND SIEBER (1822-1895)
Katechismus der Gesangkunst (1862)
Ferdinand Sieber was a successful singer and widely respected as a voice teacher and expert

on vocal pedagogy.

Biographical Sketch165

Ferdinand Sieber was born in Vienna into a musical family on December 5, 1822. His father,

Carl (Caspar) Sieber, was an operatic bass who was engaged in Vienna at the time of Sieber’s

birth. His father’s career in Vienna was short-lived, and as a result, the family relocated to

Dresden. In Dresden, young Sieber had his first experiences as a singer, performing in a boys'

choir. Because of his obvious talent, Sieber was accepted into the studio of Johannes Miksch. In

1842, at the age of 20, Sieber sang his first performance as a soloist. In 1843, he toured Germany,

and after a successful concert in Detmold, became a member of the ensemble at the city’s theater.

While in Detmold from 1844-1847, Sieber sang major parts including Sarastro in Die

Zauberflöte, Kaspar in Der Freischütz, Bertram in Robert le Diable, Marcel in Les Huguenots,

Osmin in Die Entführung aus dem Serail, and Figaro in Le nozze di Figaro. He later appeared in

guest appearances in cities such as Hamburg, Schwerin, Leipzig, Vienna, and Würzburg.

Later, Sieber toured Switzerland and Italy, which brought him into contact with the well-

regarded voice teachers Girolamo Fiorini and Felice Ronconi. In 1849, Sieber returned to

Dresden and shifted his focus to teaching singing. It was in Dresden where Sieber taught at the

Blochmann’sche Institut. Later in 1854 he moved to Berlin and taught at Königliche

Musikakademie, receiving the title of professor in 1864. Among Sieber’s students were Bianka

Blume, Hermine Spies, and Anna Schoen-René.166

Place in History

165. Kutsch, Riemens, and Rost. Grosses Sängerlexikon, 4389.

166. Janis White Dees, "Anna Schoen-René: Minnesota Musical Pioneer," Minnesota History 48,
no. 8 (Winter, 1983): 332-338.

49
 50

Sieber’s treatise was largely influenced by the principles of the Italian castrati. He became

familiar with this approach through his teacher, Johannes Miksch, and from his experiences in

Italy with Ronconi and Fiorini. In carrying on this tradition, Sieber, like Mannstein, demonstrates

the influence of Italian methods on German singing during the nineteenth century.167

Aim of Sieber's Treatise

Sieber created his singing manual as a response to the poor state of singing he observed

across Germany. His detailed manual targeted singers and teachers to provide to them a clear,

thorough understanding of the basic principles of singing.

Structure of Katechismus der Gesangkunst

Sieber covered six key areas in his treatise:

 Vocal hygiene;

 Basics principles of pedagogy;

 Types of tones possible and how to achieve them;

 Diction and articulation;

 Agility;

 Interpretation and stage presence.

Respiration

Inspiration and Expiration in Singing

Inspiration

Sieber broke down inspiration into three parts, all of which occur simultaneously:

1) A considerable amount of air is inhaled, quietly, and without haste;

2) The chest rises gradually, as the thorax expands forward and laterally;

3) The diaphragm descends. 168

167. Kutsch, Riemens, and Rost, Grosses Sängerlexikon, 4389.

168. Ferdinand Sieber and Ferdinand Seeger, The Art of Singing (New York: Wm. A Pond, 1872),
39-40.
 51

Expiration

Sieber saw expiration as the more difficult task. When singing, the singer was required to

balance the task of retaining air, while at the same time phonating. To achieve a gradual release

of air, Sieber made two points:

1) The success of expiration is dependent upon the quality of the inspiration. If inhalation
was taken “hastily,” it will have to be “hastily” exhaled;

2) The thorax and rib cage stay expanded, returning to their original resting position slowly
with no sudden collapse or jerking.169

Importance of Proper Respiration

Sieber believed the student and teacher needed to address the importance of breath since the

process was critical to tone quality. When the student practiced, he/she was to fully concentrate

on the process of breathing. Beyond singing, Sieber felt strongly that breathing was important to

the overall health of the student. Forcibly expanding the lungs and violently expelling air made

the student prone to developing fatal illnesses.170

Sieber was likely teaching diaphragmatic-costal breathing. Reflective of this was his

emphasis on chest expansion and instruction that the diaphragm descends during inhalation. This

suggests expansion was occurring both abdominally as well as thoracically.

A comparison of Sieber’s diaphragmatic-costal approach and Mannstein’s pancostal method

is revealing because both styles derive from the same teacher, Johannes Aloys Miksch. Perhaps it

was Sieber’s additional study in Italy with Fiorini and Ronconi that further developed his views

on diaphragmatic-costal breathing. Regardless, Sieber had a more thorough understanding of the

Italian tradition than Mannstein.

Another compelling point Sieber highlighted was the significance breathing played in the

singing process and the attention the singer should place on it when practicing. This was valuable

advice since breathing sets the conditions for the voice to function well and should be the first

169. Ibid., 40.

170. Ibid., 41.
 52

element a singer considers. Specifically, breathing permits the larynx to naturally descend

through reflex action, allowing the laryngeal muscles and muscles of the vocal tract to function

most favorably. If this basic condition is not met, any attempts to correct vocal problems will be

merely patchwork (e.g. placement of the tongue, sympathetic resonance sensations). In this

context the well-known bel canto maxim best sums it up: “chi sa respirare, sa cantare” (“He

who knows how to breathe, knows how to sing”).171

Phonation

Elements of a Good Tone

Sieber thought every tone should be “pure and clear” and must have the ability to achieve a

messa di voce, i.e. the ability to swell to forte and diminish back to pianissimo.172

The correct onset consisted of the following sequence:

1) Air passes into the larynx;

2) The sound then passes into the pharynx creating secondary resonance;

3) Next, the sound passes over a flat tongue (with the tip lying at the lower front teeth);

4) At the same time, the sound comes into contact with a portion of the hard palate close to
the roots of the upper teeth, thereby increasing resonance;

5) The sound flows out of the mouth, free and pure.173

How to Achieve a Good Tone

Sieber believed in a gestalt approach to tone production. He illustrated this idea by comparing

singing to the act of grabbing an object. In this visual, the arm raises, the elbow bends, and the

hand grasps the object.174 Thus, the entire arm is involved in grabbing the object, not only the

hand. In his view, this grabbing motion corresponded directly to the function of the entire body

when all elements work simultaneously together creating a well-balanced tone. Posture of body

171. Marek, Singing, 67.

172. Ibid., 40.
173. Ibid., 44.
174. Ibid., 42.
 53

and position of the mouth set the framework to achieve this balance.

He listed ten aspects (below) required of good posture and tone production.175

1) The singer should stand firmly on both feet with the body erect. Arms should not be
crossed, rather they should be hanging at the singer’s side with no undue tension;

2) Chest expands forward;

3) The body moves backwards;

4) The head should be stretched upwards in a natural position;

5) Mouth should be in a slight smiling position;

6) Mouth should have a slight oval shape, which is formed from above, not below;

7) Mouth opening should allow a space between the teeth the width of the middle finger;

8) Tongue should lie flat and quietly in the mouth, with the tip resting at the lower front
teeth;

9) Upper lip should be raised so that half of the upper front teeth are visible;

10) The head must not press downward on the larynx.

Messa di voce

Sieber believed the messa di voce was a tool that allowed the singer to develop an elegant full

tone, a quality he called the “highest charm.” Through the messa di voce, the singer became

aware of all dynamic possibilities of a sung pitch and became acquainted with the different

degrees of tension required in singing them. The messa di voce balanced all aspects of the singing

process - registration, respiration, phonation, and resonation.

Sieber listed the following concerns related to the messa di voce. Before proceeding with the

exercise, the singer needed to be capable of singing a proper piano, mezzo forte, and forte. He

emphasized beginners were never to practice the exercise because it was too difficult and could

be harmful to the vocal health of the student.176

Sieber did not specifically mention mechanics of phonation as Schmitt did (i.e. onset

175. Ibid., 37-39.

176. Ibid., 52-54.
 54

formation). Instead, Sieber emphasized how phonation was affected by the body functioning as a

whole (gestalt). He made this clear in his instructions for posture, describing a condition in which

all elements worked together.

Sieber’s assertion was accurate. Breathing conditions are set by the singer’s basic posture (i.e.

lengthened spinal cord, high chest position). While good resonate attacks are prepared by

“opening the throat” through a slight inward smile (zygomatic muscles) and a forward tongue

position with the tip resting at the lower front teeth. The connection between the two is called

imposto (a breath-resonance connection), and is foundational to good phonation.

Resonation

Faulty Tones: Causes and Corrections

Sieber stressed the importance of tongue mechanics. In his view, all faulty tones were a result

of an improper position of the pharyngeal and buccal cavities. The cause of these tones was due

primarily to the action of the tongue since it is capable of moving in a wide variety of positions

(forward, backward, and up and down,). He named three different types of faulty tones:177

 The throat-sound caused by an incorrect position of the epiglottis as it closed, thereby

cutting off the resonance of the sung tone. Sieber felt the underlying problem was related
to tension in the root of the tongue, occurring when the tongue pulls back into the
pharynx. This problem could be corrected by allowing the tip of the tongue to rest at the
front teeth. He noted this was often difficult for the beginning singer to correct.178

 The nasal tone was the sound made when the tone flowed into the pharynx and passed
into the nasal cavities, creating an “intolerable” nasal sound. The nasal tone was caused
by two actions, these being too low of a velum position combined with a high tongue
position (e.g., the [ŋ] present in the word “mengst”). Sieber felt the primary cause was
faulty use of the articulators, often a by-product of movement occurring after phonation
had begun. Correction of this problem targeted position of the tongue so the tongue
would lie flat. If the student had difficulty with this, the teacher was to use a spoon to
depress the tongue.

 The palate-sound was created by improper movement of the tongue moving up against
the roof of the mouth. This movement blocked the sound, not allowing sound to move
beyond the hard palate. As a result, the sound was unable to become fully resonant.179

177. Ibid., 44-45.

178. Ibid., 35.
179. Ibid., 35-36
 55

Sieber’s assertion that tongue tension played an important role in poor tonal quality was

accurate. If the tongue is in a poor position, the vocal tract will be inadequately modified,

resulting in poor resonance. For example, when the tongue retracts into the pharynx (tip away

from lower front teeth), it blocks off vital resonating space, resulting in a muffled, less resonant

sound. This sound may please the singer (through internal vibrations) but not the audience.

To correct tongue tension, Sieber championed a method many modern teachers would find

controversial. This method, similar to Schmitt’s use of tongs, was to use a spoon to depress the

tongue if it was not lying flat. This method was problematic. First, this was an extremely invasive

mechanical adjustment and secondly, the tongue should have a slight arch on all vowel sounds

(higher on [i] and [e], lower on [a]) regardless of the vowel sung. A slight arch implies the tongue

is free of tension, allowing the back of the tongue to form the vowels. The great Italian teacher

Giovanni Sbiriglia (1832-1916), commenting on the contemporary emphasis on tongue

placement, validated this point stating,

There is no way to tell people how to use their tongues, their lips, or their mouths in
singing. It depends on the formation of these organs. Always keep the tongue flat, is
another universal method. How stupid! The tongue usually goes up in the back just a
little.180

Registration

Two Registers

Sieber argued all voices have two distinct registers - chest voice and head voice. He believed

there were physiological differences between the two registers. In chest voice, the full mass of the

vocal folds vibrated, while in head voice, only the edges of the folds vibrated.181

Passaggio Points

In an ascending scale, the point at which an inequality in timbre occurred (resembling a trill),

was the point where the singer needed to transition to a new register. Sieber believed passaggio

180. Berton Coffin, Historical Vocal Pedagogy Classics (Lanham, MD: Scarecrow Press, 2002),
100.
181. Sieber and Seeger, The Art of Singing, 34.
 56

points occurred at the following pitches in these voice types:

 bass at Bb3 or B3

 baritone at C#4 or D4;

 tenor at E4 or F4;

 contralto at A4 or B4;

 mezzo soprano at C#5 or D5;

 soprano at Eb5 or E5.

Above these passaggio points, the singer was to sing in pure head voice.182

Criticism of Three-Register System: Dangers of Chest Voice and Importance of Head Voice

Sieber noted his contemporaries taught a three-register system. He was critical of their so-

called "middle register.” He believed teachers were advocating that students take chest voice up

too high and that they should have rather prescribed head tones. Incorporating too much chest

mechanism resulted in an uneven voice and, in Sieber's view, was dangerous to the singer’s vocal

health.

As noted, Sieber and Mannstein suggested the voice had two distinct registers, chest voice

and head voice. Their observations can be compared to the modern view of thyroarytenoid-

domination production (chest voice) compared to cricothyroid-dominant production (head voice).

Sieber’s discussion focused on laryngeal registration and said nothing about balancing these

registers through vowel modification. However, as with Mannstein, there was likely some use of

passive vowel modification because the event of “turning over” into a new register (i.e. what the

listener hears as a register change) is primarily an acoustical phenomenon.183

Other Important Aspects

Artistic vs. Natural Singing

Sieber emphasized the difference between natural talent and artistry. He believed natural

182. Ibid., 35.

183. Bozeman, Practical Vocal Acoustics, 26.
 57

talent was an innate gift but artistry had to be developed. The training to develop artistry was

what Sieber termed "technique.” This technique leading to artistry involved five components -

good breath control, good onset, mastery of the messa di voce, ability to phrase, and agility.

Summary of Sieber’s Treatise

1) Place in History

 His treatise demonstrates the influence of Italian singing in Germany in the nineteenth
century.

2) Respiration

 Promoted diaphragmatic-costal breathing.

 Inspiration consists of three simultaneous elements: 1) silent inhalation, 2) expansion of

the chest, and 3) descent of the diaphragm.

 Expiration in the singing process is a balancing act of gradually releasing expansion of

the chest during phonation.

3) Resonation

 The tongue is the most important muscle for achieving proper resonance; tongue faults
are the causes of poor resonation.

 There are three types of faulty tones: 1) the throat-sound, 2) the nasal tone, and 3) the
palate-sound.

 Used a tongue depressor to adjust faulty tongue position.

4) Phonation

 A five-part process is necessary to achieve a “pure and clear” (balanced) tone. This type
of tone, when correct, sets a foundation upon which a messa di voce can be performed.

 Through proper body alignment, all parts of the body work synergistically to produce an
ideal tone.
 58

5) Registration

 The voice consists of two registers - head and chest voice.

 The point at which an audible inequality (trill-like sound) is heard marks the point where
a singer transitions to a new register (head in ascending, chest in descending).

 The three-register approach to registration is flawed. In this method, too much chest
voice is incorporated into the middle register. This creates an uneven scale, and is
dangerous for the vocal health of the singer.

 He viewed registration issues in terms of laryngeal adjustment; however, one can infer
there was an element of passive vowel modification present.

6) Other Important Aspects

 Artistry and talent are different; artistry is the acquisition of technique whereas talent is
naturally given.
 Chapter 6: JULIUS HEY (1832-1909)
Deutscher Gesangs-Unterricht (1884)

Julius Hey was a renowned German pedagogue who was Richard Wagner’s most trusted

advisor on aspects of singing. Hey based his approach on Friedrich Schmitt’s work Grosse

Gesangschule (1854), further expanding Schmitt's model and disseminating what came to be a

widely accepted German method of singing.

Biographical Sketch184

Julius Hey was born on April 29, 1832 in Irmerlshausen, Germany. He first studied to be a

painter at the Künstakademie in Munich, while at the same time studied composition and music

theory with the musician Franz Lachner (1803-1890). This latter experience fueled an even

greater interest in music, compelling Hey to switch his focus away from painting to music.

Hey later met and studied voice with Friedrich Schmitt, who had come to Munich at the

behest of Wagner. Schmitt was one of the few in the field who addressed problems associated

with diction in German repertoire. This particular aspect of singing greatly influenced Hey and

his future aesthetical approach to teaching voice.185

In 1864, Hey met Wagner and later became his most trusted advisor on the art of singing. At

the time, Wagner felt singers performing his music sang with poor diction. Known for his

nationalistic views highly critical of the French and Italian musical styles, he was convinced this

problem was caused by the influence of Italian vocal technique.186 In many ways Wagner’s

disapproval of poor diction prompted Hey to commit to developing a new technique specific to

Germanic repertoire.

In 1867, Hey began to teach voice at the newly formed Königliche Konservatorium in

184. Friedrich Blume and Ludwig Finscher, Die Musik in Geschichte und Gegenwart: Allgemeine
Enzyklopädie der Musik; Personenteil,12 (Kassel: Bärenreiter, 2004), 1504-1505.
185. Hey, Deutscher Gesangs-Unterricht, 5-6.
186. Ibid., 2-3.

59
 60

Munich. After Wagner's death in 1883, Hey left the conservatory and focused his efforts on

refining a technique that fit the needs of Wagner’s Musikdrama. Hey's fully developed method

was published in his text, Deutscher Gesangs-Unterricht. Later in his career in 1887, Hey moved

to Berlin where he continued to teach voice.

Hey was a well-known, well respected pedagogue in his day, teaching many students who

had prominent professional careers of their own. His pupils included Katharina Klafsky, Eva von

der Osten, Rosa Olitzka, Elise Kutscherra de Nyß, Charlotte Huhn, Georg Unger, Karl Perron,

and Albert Hoeberg.187

Place in History

Julius Hey is most recognized by his extension of Schmitt's earlier ideas in creating a German

singing method, rejecting Italian and French influences, and his efforts to respond to Wagner's

concerns related to text comprehension. Through his affiliation with Wagner, Hey developed an

innovative singing technique to emphasize text comprehension. Hey’s method placed stronger

influence on Sprechgesang (text-based singing) than the pure vocalism of the Italian and French

schools.188

In addition to Hey’s work with singers, his principles were highly regarded by actors and

professional speakers, known to them through the condensed version of Deutscher Gesangs-

Unterricht: Der kleine Hey. This abbreviated book spoke to the demands of recitation and served

as a standard in Germany for those involved in public speaking. In fact, this book is Hey's

greatest legacy.

Aim of Hey's Treatise

Hey’s four-volume work, Deutscher Gesangs-Unterricht, aimed to meet the needs of

Wagner’s Gesamtkunstwerk. Hey outlined principles for achieving clear understandable text in

187. Kutsch, Riemens, and Rost, Grosses Sängerlexikon, 2069.

188. Blume and Finscher, Die Musik in Geschichte und Gegenwart, 1505.
 61

singing German repertoire, what Hey called “German Bel canto.”189

Structure of Deutscher Gesangs-Unterricht

Several editions of Hey's work are available, however the first two editions focused solely on

Hey's ideas related to teaching singing. Later editions were expanded and included commentary

by the editors. The second edition added exercises for individual voice types and offered a more

structured discussion of Hey's principles. Hey’s work is written in two parts - the Sprachlicher

Teil (linguistic detail) and the Gesanglicher Teil (singing detail).

Sprachlicher Teil addressed key concepts of Hey's approach to include:

 Hey’s argument for a new German system of singing offering a criticism of past and
contemporary methods, a summary of Wagner’s dissatisfaction with the poor diction of
German singers, and his rationale for a new method;

 An in depth discussion of speech sounds related to correct formation of vowels and

consonants;

 Linguistic cultivation focused on the most common problems associated with singing
(e.g., lack of resonance, uneven scale) and solutions using mainly speech-based
corrections.

 Dynamic and rhythmic elements of the German language such as speech inflection and
rhythm, among others.

Gesanglicher Teil was primarily an exercise book of scales, songs and arias to be used for

training singers. The second edition (1913) added a discussion of technical principles (e.g.,

breath, registration). Hey suggested vocal exercises to practice the following singing elements:

 Exercises to strengthen natural chest resonance;

 Blending of registers;

 Dynamic progression of the vowels;

 Scales: chromatic and diatonic;

 Interval training;

 Ornamentation;

 The trill.

189. Ibid.
 62

Respiration

Diaphragmatic Breathing

Julius Hey believed the majority of singing problems were caused by poor respiration. To

correct this, he advocated diaphragmatic breathing, which, in his view, was the correct method of

respiration for singing.190 He felt techniques that taught tightening of muscles (chest and

abdominal) were not helpful. This unnecessary tension crippled movement of the diaphragm,

negatively impacting respiration. Hey described this type of respiration as a “jerky” breath or a

breath without resistance.191

It is difficult to know which breathing method Hey taught. He simply mentioned

diaphragmatic breathing should occur without any unnecessary tightening of the muscles of the

thorax or abdomen. His assertion was accurate - while the breath musculature must remain taut, it

should remain flexible for optimal function.

Nevertheless, Hey did not discuss the use of any secondary muscles in breathing. Therefore,

it is unclear if he was teaching abdominal breathing or a diaphragmatic-costal breathing. As well,

pancostal breathing was clearly not a possibility since he specifically stated there should be no

tension in the abdominal muscles. Nevertheless, his emphasis on low diaphragmatic descent

implies he was asking his singers to breathe “low,” indicating some element of abdominal

breathing.

Achieving Proper Respiration

When teaching breathing, Hey believed breathing exercises should not be separated from

phonation. Instead, breathing exercises should be combined with speech since he thought

respiration for both the singing and speaking processes were similar. The only difference Hey

observed was the sustained sung tone required less air.192 Specifically, Hey thought the solution

190. Hey, Deutscher Gesangs-Unterricht, 139.

191. Ibid.
192. Julius Hey, Hans Erwin Hey, and Fritz Volbach, Der kleine Hey. 2,1 (Mainz: Schott, 1913),
4.
 63

to poor respiration was by connecting breathing with bright and dark vowels.193 To achieve

proper respiration, Hey recommended the following sequence:194

 Breathe through the mouth;

 As the inhaled air increases, so should the opening of the mouth;

 At the end of the inhaled breath, there should be a large jaw opening, with the soft palate
and the uvula in the highest position possible;

 Before phonation there is a short pause;

 After the pause, the student should speak vowels in either an order from bright to dark
([i], [e], [ɛ], [a] [o], [u]), or from dark to bright ([u] [o] [a], [ɛ], [e], [i]);

 This exercise should begin almost “whisper-like;”

 Throughout the entire exercise, the student should feel a widening of the pharynx. As a
result of the widening, a free, resonate tone will result.

Laryngeal Position

Hey believed a comfortable low (unforced) laryngeal position was a prerequisite for superior

phonation. Students were to be aware of this position and maintain it throughout the respiration

and phonation processes (i.e. avoidance of the rising or lowering of the larynx). The unforced

lowering of the larynx created through diaphragmatic breath, what he called, the Tiefgriff der

Stimme (the lower grip of the voice) gave the voice a Halt (foothold) or Stütze (a support point).

To find the correct position of the larynx, the vowels [o] and [u] aided the singer. In addition, Hey

recommended students image all sung pitches as being on a horizontal plane; this too was

beneficial for achieving a stable laryngeal position.195

Phonation

Three Types of Tones

Hey described three different types of tones:

 Naturton (natural tone), the tone that developed naturally from the student;

193. Ibid., 4.
194. Ibid., 4.
195. Ibid., 4.
 64

 Normalton (normal tone), a tone which was refined, but not yet fully developed; it had
the potential to develop into the Idealton;

 Idealton (ideal tone), an “expressive, individual, free tone” that “gave pleasure to the
listener.” This was, in Hey’s view, a fully developed balanced tone.196

The method to develop the Idealton originated in the Naturton.

Naturton and the Development of Tone

Hey saw the Naturton (natural tone) as the key to building proper phonation. This tone

resulted from “unforced” production; its refinement led to the Normalton (normal tone), which

served as the precursor to the Idealton.197 To find this tone, the student performed speaking

exercises in his most comfortable range. Hey recommended sentences with strong consonants to

help ground the voice, which included:

 Barbara sass nah am Abhang;

 Es streben der Seele bebete;

 Oben throne fromme Nonnen.

By practicing these exercises, the student learned “a natural attack, free from any pushing that

seemed to flow out of the mouth.”198 After the student learned this coordination in the most

comfortable range, the singer advanced to higher and lower pitches, beginning with neighboring

tones.

Hey’s approach to phonation was based on the refinement of natural speech, a method similar

to many modern-day pedagogues including W. Stephen Smith.199 If the singer speaks well, this

would be an efficient approach since it uses the student’s natural coordination as a starting point

to develop the voice. However, problems may occur if the student’s speaking voice is not well

coordinated. In such cases, “primal” sounds (e.g. sighing, crying, laughing) would be more

beneficial.

196. Ibid., 2.
197. Ibid., 2.
198. Ibid., 3.
199. W. Stephen Smith and Michael Chipman, The Naked Voice: A Wholistic Approach to Singing
(New York: Oxford University Press, 2007), 49-65.
 65

Importance of the Tongue200

Hey noted improper tension of the tongue was often a cause of poor tonal quality. He felt this

tension was caused by poor consonant production. To correct this, he recommended gymnastic

exercises of the tongue, uvula, soft palate, jaw, and lips to free it. These exercises were practiced

until articulation was secure and clear. Examples of these types of movements included extending

the tongue outside the mouth over the lips, lowering the jaw, and quick jaw movements.201

Hey made a valuable point that tongue tension was often the root of poor tonal quality. The

tongue directly affects the larynx through its connection to the hyoid bone. Consequently, tension

in the tongue is inadvertently transferred to the laryngeal muscles, causing vocal problems such

as a slow or quick vibrato.

Furthermore, the position of the tongue also significantly affects the shape of the vocal tract,

impacting tonal quality as well as clarity of diction. Poor shape of the resonator caused by tension

in the tongue may boost unwanted frequencies, creating timbre distortion and unclear diction.

Hey’s method for correction (gymnastic exercises of the articulators) may have had benefits.

They reflect many modern day methods of releasing tension in the body.202 If done efficiently, the

result could be freedom in the upper vocal tract and larynx.

Resonation203

Hey believed there were two qualities of resonance - chest resonance, and head/nasal

resonance.

 Chest resonance was the sympathetic resonance felt between the cartilages and bones of
the upper ribcage. In Hey's view, chest resonance gave strength to the voice and played
an important role in fortifying the tone.204

 Head/nasal resonance was described by Hey as sympathetic resonance felt in the area
above the larynx, in the upper skull, and in the upper nasal cavities. He noted this type of
resonance was important because its metallic quality was what gave the voice its carrying
power.

200. Hey, Deutscher Gesangs-Unterricht, 129.

201. Ibid.
202. Brown, Discover Your Voice, 11-14.
203. Hey, Hey, and Volbach, Der kleine Hey,6.
204. Ibid., 5.
 66

Balancing Resonance

Hey suggested the balance between chest and head/nasal resonance should be ideally an equal

50-50 split. However, for the lowest pitches the singer would sing, the balance should be an 80-

20 chest vs. head/nasal resonance, while the highest pitches in the upper range, require a balance

of 20-80, chest vs. head/nasal resonance. Hey called this balance of resonance the gold’ne Brücke

(the golden bridge).

Importance of Nasal Resonance

Hey believed head/nasal resonance had another importance; it was the bridge between head

and chest voice. To find this quality, Hey recommended use of the nasal consonants ([m] [n], [ŋ]).

However, he thought nasal resonance should never be isolated. This isolation led to a Nasenton (a

pure nasal tone), which he viewed as an ugly abhorrent sound.205

Unification of Sound

Hey saw poor vowel formation as often being the root cause of faulty tonal quality.206 In his

view, vowel color should have the same basic sonority (acoustical ring), regardless of which

vowel was sung. Maintaining a unified timbre in every vowel helped to achieve a balanced

registration and therefore an even voice.207 To illustrate this, Hey offered the following image to

aid his students in finding a balanced vowel color. The figure below demonstrates different

vowels unified by a constant sonority.

Figure 6.1 Vowel Color208

205. Ibid.
206. Hey, Deutscher Gesangs-Unterricht, 8.
207. Hey, Hey, and Volbach, Der kleine Hey, 6.
208. Hey, Deutscher Gesangs-Unterricht, 12.
 67

Hey’s emphasis on nasal resonance raises an issue. There is a strong connection between

sympathetic nasal resonance and an even scale. Consequently, many would agree these vibrations

are beneficial.209 However, these sympathetic vibrations could be the source of this freedom or

attributable to something else. What Hey was likely describing (sympathetic nasal resonance) was

a by-product of a well-functioning voice in which all elements (resonation, registration, phonation

and respiration) complemented one another. Thus, it is not the resonance but rather the well-

functioning voice that allows registers to be united and an even timbre created.

It is plausible Hey realized awareness of this sympathetic resonance was a useful pedagogical

tool, allowing the singer to gauge the state of his vocalism. It is important to note, however, that

placing a tone can have dual results solving selected problems and leading to others. A preferable

solution is to create the right conditions (e.g. proper breathing, onsets, etc.), thereby allowing (not

making) these beneficial sympathetic vibrations to occur.

Registration

Hey believed the voice was comprised of three registers: chest register, middle register, and

head register.210 The singer’s ultimate aim was to blend these registers so they would become one

register. One of the major challenges in singing was to avoid abrupt changes in tone quality when

moving from one register to another.211 Hey thought the solution lay in balancing resonance. As

with resonance (see above section), the range in which the singer was singing needed to have the

proper distribution of chest vs. head/nasal resonance. In other words, the singer had to avoid too

much chest voice in the upper range and too much head voice in the lower range.212

Blending Registers213

In developing the individual registers and creating a balance between them, Hey outlined the

209. Brown, Discover Your Voice, 82-84.

210. Hey, Hey, and Volbach, Der kleine Hey, 6.
211. Ibid.
212. Ibid., 7.
213. Ibid.
 68

following instructions relevant to the mezzo-soprano voice:

 Chest register

 Attention should be paid to correct vowel color;

 Sentences should be used with forward (bright) vowels;

 Exercises should begin in piano and progress to forte.

 Middle register

 Best vowels to develop this register are the dark vowels ([o] and [u]). These vowels
promote the lowering of the larynx;

 After registers are well established, the student may proceed to brighter vowels ([i]
and [e]), giving a bright metallic color to the voice.

 Head register

 Head register must be developed through the strengthening of the middle voice. Only
then is this voice useful in performance;

 Consonants [n] and [ŋ] assimilate registers;

 A wide mouth position, like that of a pure [a] vowel, is needed for this register;

 A low laryngeal position with a raised soft palate is necessary;

 Staccato exercises bolster this register.

Hey’s view of registration was strongly rooted in vowel modification. Unlike Mannstein and

Schmitt, Hey did not address laryngeal adjustment in balancing registers. Rather, he focused

solely on unification through achieving the proper acoustical balance, i.e. vowel modification.

The vowels Hey chose for blending registers reflect the acoustical nature of the mezzo-soprano

voice, and would have aided the singer in creating an even scale.

 Closed vowels such as [i] and [e] aid in achieving full glottal closure in the chest register,
a typical challenge in the female voice. In addition, closed vowels make it generally
easier for a mezzo-soprano to find a resonant tone in this register.214

214. Bozeman, Practical Vocal Acoustics, 33.

 69

 Using closed vowels [u], and [o] in the middle register, or what Hey called “dark
vowels,” assist the singer in tracking resonance which will prepare them for the upper
range – an early arrival in what Bozeman calls “whoop timbre.”215

 Open vowels such as [a] are ideal for the upper range of the female voice, as the sung
pitch is often above the first formant of the sung vowel. Thus, to maintain an even timbre
all vowels will open as the female singer ascends the scale, approaching an [a] or [ə] in
the extreme upper range.216

Other Important Aspects

Diction

Hey’s influence on the importance of diction in both German singing and recitation is

unsurpassed. In his treatise, Hey presented a detailed discussion of correct vowel color and the

way a singer should achieve this quality. These principles were relevant to the training of both

singers and professional speakers. Hey’s diction rules developed because of his drive to create a

technique congruent with Wagner’s ideals.217 His goal was a technique that assured clear

accentuation of text as opposed to simply pure vocalism.

To acquire clear diction, Hey emphasized fusing vowel and consonant, what he called

Wortbildung (word formation). He believed the singer had to develop pure vowels and sharpen

consonants, which he thought the majority of professional singers were too lax in doing.218 This

emphasis on the consonant, not typical of Italian or French methods, shifted the focus away from

pure vocalism to Sprechgesang (text-based singing).219 However, Hey believed that while

emphasis on diction would disturb vocalism, he only advocated for a lessening of vocal line

rather than an elimination of it.220

Summary of Hey’s Treatise

1) Place in History

 Julius Hey was a voice teacher who created a comprehensive approach to German
singing based on Friedrich Schmitt’s model.

215. Ibid., 34.

216. Ibid., 34-35.
217. Hey, Deutscher Gesangs-Unterricht, 2-3.
218. Ibid., 9.
219. Blume and Finscher, Die Musik in Geschichte und Gegenwart, 1505.
220. Hey, Deutscher Gesangs-Unterricht, 9-10.
 70

 He was closely connected to Wagner and aimed to create a technique to address

Wagner’s Gesamtkunstwerk.

2) Respiration

 Discussion of breathing is too vague; it is difficult to know which method he

recommended.

 Overly tense muscles do not allow the breath organ to function efficiently.

3) Resonation

 There are two qualities of resonance - chest resonance and head/nasal resonance.

 A balancing of these resonance types is needed; the ratio of head/chest depends on the
range in which the singer is singing. This balance is called the gold’ne Brücke (the golden
bridge).

 Nasal resonance plays an important part in the blending of registers; it can be developed
with nasal consonants.

 All vowel colors should have the same sonority.

4) Phonation

 There are three types of phonation: Naturton (natural tone), Normalton (normal tone),
and Idealton (ideal tone).

 The Naturton is the foundation for developing the Idealton.

 A low laryngeal position is needed for good phonation.

 The tongue has an important effect on the quality of the sung tone.

5) Registration

 There are three registers: chest register, middle register, and head register.

 Registers must be blended so that no audible changes in tone quality are heard.

 Register balance is best achieved through the use of vowels and consonants.

 Vowel modification plays a central role in balancing registers. He said nothing

of the laryngeal adjustment needed.
 71

6) Other Important Aspects

 Hey significantly influenced the practices of diction used by singers and public speakers.

 Clear vowels and strong consonants are necessary.

 Pure vocalism should not be destroyed; instead it should be tempered.

Chapter 7: BRUNO (BENNO) MÜLLER-BRUNOW (1853-1890)
Tonbildung oder Gesangsunterricht? (1890)

Bruno Müller-Brunow was a voice teacher and author. His views on pedagogy ushered in a

new style of teaching voice. This was Tonbildung - a physiological-mechanical approach to

teaching singing. He cultivated voices chiefly through a speech-based method, which carried

forward to the next generation of singers and voice teachers impacting their individual methods.

Biographical Sketch221

There is very little information about the life of Müller-Brunow other than that he was born in

Leipzig in 1853 and died there in 1890. It is known that Müller-Brunow studied voice following

traditional singing methods at the time (Italian and French influenced). However, he felt these

methods were not helpful and resulted in harming his own voice. Unfortunately, as a result of his

vocal study, he lost his voice.

Müller-Brunow was able to rebuild his voice while studying with Ludwig (unknown first

name) in Darmstadt, using principles Müller-Brunow called the Primärton (primary tone). This

tone was created through natural coordination and was the tone that was easiest for the singer to

produce.222 After his voice rehabilitation was complete, Müller-Brunow later reconciled himself

to the fact that he was only a mediocre singer. As a result, he shifted his focus to teaching singing.

Similar to his biography, little is known about Müller-Brunow’s students other than the

comments of his contemporary George Armin, who stated Müller-Brunow’s singers sang with a

thin quality and lacked carrying power.223 This may be an unfair critique when one considers the

221. Th. Westrin, E. Fahlstedt, and V. Soderberg, Nordisk Familjebok 37 supp. L, 652, last
modified June 13, 2013, accessed May 18, 2015, http://runeberg.org/nfcq/0362.html.
222. Bruno Müller-Brunow, Tonbildung oder Gesangunterricht? Beiträge zur Aufklärung über
das Geheimnis der schöner Stimme (Leipzig: C. Merseburger, 1904), 13.
223. George Armin, Das Stauprinzip oder, die Lehre von dem Dualismus der menschlichen
Stimme, dargelegt für Sänger, Schauspieler und Rezitatoren (Leipzig: C.F.W. Siegel's Musikalienhandlung,
1909), 9.

72
 73

aggressive muscular approach of Armin’s Stauprinzip. Nevertheless, Tonbildung oder

Gesangsuntericht? is Müller-Brunow's written legacy, which had an impact on future methods.

Place in History

Müller-Brunow’s book Tonbildung oder Gesangsunterricht? (1890) has an important place in

the chronology of the German singing tradition. His concise text was widely circulated

throughout Germany, influencing future pedagogical techniques including George Armin's

Stauprinzip (vocal damming). This treatise was one of the first to approach voice training from

the perspective of Tonbildung (cultivation of tone). Tonbildung promoted voice training based on

a physiological-mechanical point of view. Consequently, he avoided use of pure singing methods

such as elaborate agility patterns, exercises to blend registers, or solfege, and instead relied

chiefly on syllabic exercises.

Problems with Contemporary Methods

Müller-Brunow saw two problems with traditional methods taught at the time. In his view,

existing methods were "overly scientific,” relying heavily on principles espoused by

Helmholtz.224 Secondly, he felt teachers placed too much importance on Italian technical

principles. In sum, Müller-Brunow suggested these techniques were too general and lacked clear

direction for students learning to sing.225

Aim of Müller-Brunow’s Tonbildung oder Gesangsunterricht?

Because of the observed faults in methods at the time, the single purpose of Müller-Brunow's

treatise was to outline a clear, simple approach for learning to sing correctly. He wrote his singing

manual in what he called the “singer’s language,” i.e. use of imagery and a vocabulary suited to

the singer, thereby avoiding detailed scientific discussion of his singing principles.226

224. Müller-Brunow, Tonbildung oder Gesangunterricht?, 4.

225. Ibid., 17.
226. Ibid., 4.
 74

Structure of the Book

Müller-Brunow divided his ideas into two categories: theory and practice. Theory provided a

targeted analysis of other schools of singing as well as his own technical principles; practice

suggested specific exercises to develop the voice.

Respiration

Importance of Respiration

Müller-Brunow believed the study of singing should not be centered upon singing beautiful

notes or sounds, but rather should focus on correct breath function.227 Optimal respiration created

a domain over all registers and colors of the voice.228 He used imagery to describe this process.

In his visual, he compared respiration for singing to a fountain. He described this fountain as

having a stream of water that shot straight into the air with a glass ball resting at the peak of the

stream. In this representation, the water stream corresponded to breath flow and the glass ball

denoted the sympathetic resonance felt in the skull. This imagery illustrated his understanding of

the importance of the relationship between breath and resonance in the singing process.229

How to Practice

One of the main problems Müller-Brunow observed with breathing was the improper

hyperfunctional breath, what he called the “wild stream of air.” To address this problem, he

recommended a singer practice the [ŋ] consonant with a half-closed mouth. This technique

created a sympathetic resonance placement point in the front portion of the mouth, leading to a

sensation that the breath “vibrated against the upper lip.”230

From Müller-Brunow’s discussion, it is not possible to discern his method of breathing. He

omitted description of specific parts of the body involved in the breathing process. However, a

227. Ibid., 9.
228. Ibid., 12.
229. Ibid., 27.
230. Ibid., 24.
 75

useful point Müller-Brunow made through his use of imagery (fountain with a ball) was the

sensation of balancing subglottic pressure between the respiratory muscles and the vocal folds.

This suggests a sensation of imposto, in which breath and sympathetic vibrations in the upper

vocal tract are strongly connected. It is characteristic of the Italianate appoggio approach and

recommended by many modern voice teachers.231

Resonation

Importance of Forward Resonance

Müller-Brunow’s approach to resonation hinged on the singer placing the tone into the

sinuses. He described this as a "bow-like" direction of the breath. In his view, breath should not

come out of the mouth causing a “flat” sound but should flow through the sinuses.232 This breath

resulted in a flawless tone and was developed from “natural resonation.” When this resonance

was connected to the resonance of the rib cage and vertebrae, the singer’s tone was amplified in

volume.233

Speaking = Singing

Müller-Brunow believed the spoken tone was the basis for the sung tone.234 Based on this

assumption, his entire approach to singing originated from speech, i.e. using consonants and

vowels to develop the proper resonance. Unlike Hey, however, Müller-Brunow did not focus on

using recitation to develop proper coordination, e.g. using sentences or phrases. Instead he

championed syllabic coordination exercises. This mechanized method exemplified Tonbildung

(physiological-mechanical approach to singing).

Primärton (Primary Tone)

The notion of Primärton (primary tone) was the underpinning to Müller-Brunow’s technique.

231. Miller, Structure of Singing, 23.

232. Ibid.
233. Ibid., 16.
234. Ibid., 10.
 76

He defined this sound as being the easiest and most natural tone the student could produce.235 The

primary tone was best developed through the mixed vowel [ø]. This mixed vowel combined

aspects of both forward (high partial) and back (lower partial) vowels. He saw it as the most

advantageous vowel in creating proper resonance, i.e. directing the sound toward the frontal

sinuses.236

Müller-Brunow thought vowels should be developed through vowel harmony (timbre

matching) using the Primärton [ø] as the foundational vowel. To accomplish an even timbre on

all vowels, the singer began with the [ø] vowel and blended or matched its quality with the

vowels [y], [o], [a], [u]. In Müller-Brunow’s view, these four additional vowels were the most

important after the primary tone [ø].237 Mastery of all vowels balanced the singer’s tone.

This approach to developing balanced tonal quality is similar to Oren Brown’s “primal tone”

strategy, which focuses on finding the tone the student can produce with the most “natural”

coordination. This suggests a basic coordination in which articulators in the vocal tract (e.g.

tongue) are free of unnecessary tension and function optimally in conjunction with the breath and

laryngeal musculature.

The vowel sound both Müller-Brunow and Oren Brown used to develop this sound

demonstrates similarities. Brown made the recommendation that singers develop this natural

coordination with the schwa vowel [ə], noting this is the most “relaxed” vowel sound and most

characteristic of a baby’s cry.238 While this sound is present in many world languages, it is not a

vowel sound that German speakers recognize. Close to this sound, however, is the mixed vowel

sound [ø] (a “relaxed” version of this sound is the sound Germans use to describe their schwa

sound),239 which was in fact the vowel sound Müller-Brunow recommended to find the

coordination for the Primärton.

235. Ibid., 9.
236. Ibid., 26.
237. Ibid., 45.
238. Brown, Discover Your Voice, 1.
239. I learned about this German speech sound in a conversation with diction coach, Sujata
 77

Nevertheless, finding a singer’s best vowel should be considered on an individual basis. Yet,

the idea of finding a balanced tonal quality and then matching its timbre to other vowels is a

useful concept.

Consonants

Müller-Brunow believed the consonant was the most effective tool for developing proper

resonance since consonants guided the tone into the front part of the mouth. Specifically, nasal

consonants were exceptionally valuable, as they grounded the voice to this placement point

"putting bad habits, particularly throaty singing to rest.”240

Laryngeal Position

Müller-Brunow believed a low laryngeal position for singing was necessary. To accomplish

this, he suggested using darker vowels241 (low spectrum) and mixed vowels, specifically [ø], [y],

[o], [a], and [u].242

Phonation

Proper Onset through Consonants

In Müller-Brunow’s view, teaching the correct coordination for an onset had to be combined

with a consonant. By successfully “concentrating” the sound into the front of the mouth, the

student was able to avoid a glottal or breathy attack, thereby creating a balanced onset.243

Specifically, Müller-Brunow recommended using bilabial consonants to achieve this

coordination.244

While present in other traditions, Müller-Brunow’s support for a consonant based approach to

phonation tends to suggests a Germanic trend in cultivation of a balanced onset. Perhaps this is

due to the hard nature of the German language, namely its glottal-like nature. Regardless, the use

Huestege in Würzburg, Germany.

240. Müller-Brunow, Tonbildung oder Gesangunterricht?, 44.
241. Ibid., 26.
242. Ibid., 45.
243. Ibid., 23.
244. Ibid., 45.
 78

of the consonant is beneficial in coordinating breath and resonance because it aids the singer in

concentrating the tone. In addition, if made precisely without any hint of “scooping” (starting

below the sung pitch and sliding up), the result is a balanced attack similar to the one advocated

by Manuel Garcia II.

Registration

Müller-Brunow included very little about registration in his treatise. Instead, he reiterated the

importance of balancing the voice through the Primärton (primary tone). He believed registration

would be achieved on its own if the middle range was properly coordinated. After the middle

register was adequately strengthened, the singer moved to both higher and lower pitches using the

same principles.245 In addition, Müller-Brunow made two other points about registration: 1) as

pitch rises, breath pressure increases at the placement point in the front of the mouth, and 2) there

should only be a minimal change in mouth position.246

Similar to his discussion of respiration, Müller-Brunow was vague about the way to achieve a

balanced scale, only noting it should be developed from the basic coordination of the Primärton.

His view was accurate. Creating basic coordination is a prerequisite to all other aspects of vocal

training (e.g. range and registers, agility, among others). Yet, this view is also too simplistic.

More research into Müller-Brunow’s technique is needed to fully understand his approach to

registration.

Other Important Aspects

Development of the Voice

Müller-Brunow believed that, while it would take five to six months to achieve basic

vocal coordination, it would take at least five to six years to fully develop a voice.247 He

compared this development to the time it took any artisan to learn his trade. He noted singers who

245. Ibid., 12.

246. Ibid., 69.
247. Ibid., 25, 28.
 79

did not take sufficient time to fully develop their own singing techniques typically shortened their

careers by twenty years. He went on to say the tenor voice was the most difficult voice type,

requiring the most time to fully mature.248

Summary of Müller-Brunow’s Treatise

1) Place in History

 His method fit into a new physiological-mechanical approach to vocal training, called
Tonbildung (cultivation of tone), representing a break from other singing schools that
focused heavily on technical exercises such as agility and register blending.

 Tonbildung provided the foundation for future methods, most notably Armin’s
Stauprinzip.

2) Respiration

 Description of breathing is too vague to know exactly what method of breathing he

advocated.

 Proper respiration is foundational to optimal function.

 Image of a proper breath simulates a fountain with a glass ball on top of its peak that
corresponds to breath (water) meeting the sympathetic resonance points (ball). This is a
beneficial visual, as it captures the balance of subglottic pressure between the breath
musculature and the vocal folds.

 Breath exercises should be combined with humming or nasal consonants to correct

hyperfunctional breath; nasal consonants create proper resonance to concentrate the tone.

3) Resonation

 A “bow-like” direction of the breath to a placement point in the front of the mouth is vital
to creating an optimal tone.

 Optimal resonation is created through the primary tone (mixed vowel [ø]) and use of
consonants that concentrate the sound in the front portion of the mouth.

4) Phonation

 Consonants are needed to create a healthy onset.

 Darker vowels such as [ø], [y], [o], [a], and [u] help create the proper laryngeal position
for phonation.

248. Ibid., 23.

 80

5) Registration

 Proper registration is achieved through balancing the voice with the Primärton
primary tone (the student’s best note) and approaching the lower and upper
registers from that point.

 As pitch rises, breath pressure at the sympathetic resonance point in the front of
the mouth increases and there is a slight change in mouth position.

 Offers a vague description of a method Müller-Brunow used to develop

balanced registration. More research is needed to determine methods Müller-
Brunow truly taught.

6) Other Important Aspects

 At least five to six years of training and practice are required to fully develop a
voice.
 Chapter 8: GEORGE ARMIN (HERMANN) (1871-1963)
Das Stauprinzip (1909)
George Armin was a voice teacher and central figure in German vocal pedagogy during the

twentieth century. He is most recognized for writings on his method, titled the Stauprinzip (vocal

damming) and for his aesthetical challenge to Paul Bruns' Minimalluft theory.

Biographical Sketch

George Armin (Hermann) was born on November 10, 1871 in Braunschweig, the son of

conductor Otto Hermann. Armin decided to pursue music, first studying voice with August Iffert

and later with the heldentenor L.C. Törsleff.

After completing his vocal studies, Armin focused on teaching rather than performing. His

first position was in Leipzig as a teacher of “theater and the art of recitation.” In 1904, Armin

moved to Berlin, where he continued to teach voice. In 1925, he founded an association dedicated

to vocal pedagogy and science, the “Gesellschaft für Stimmkultur” (society for voice culture).

Armin later served as a publisher for the magazine, “Der Stimmwort,” a periodical dedicated to

vocal pedagogy and science. In the 1940’s, Armin moved to Denmark and taught there.

Armin's controversial approach to teaching voice made him a polarizing figure in the

teaching community. Among his students who achieved professional success were Gertrude

Bartsch and Rudolf Waschke. 249

Place in History

George Armin is best known as a dominant figure in the debate with Paul Bruns (Minmalluft

- minimal air), as the two pedagogues had diametrically opposed views on vocal pedagogy. The

argument between the two men generated a passionate dispute throughout Germany about the

correct way to teach singing.

249. Die Musik in Geschichte und Gegenwart 1, 1 (Kassel: Bärenreiter, 1999), 948.

81
 82

Development of the Stauprinzip

The impetus for Armin’s ideas for the Stauprinzip came about from his experiences as a

singer. He had many vocal problems as a young singer. As a result, he turned to the available

literature for guidance and answers, namely the writings of Müller-Brunow and Friedrich

Schmitt. While Armin saw problems with both authors' ideas, he synthesized their approaches

into his new solution.

In creating the Stauprinzip, Armin combined Schmitt’s breathing technique, what Armin

called the "lower voice,” with Müller-Brunow’s use of consonants, termed the "upper voice.”

Through this technique, the voice was to be broken down and rebuilt from scratch. His approach

to teaching singing, like Müller-Brunow’s, fit into the realm of Tonbildung, a physiological-

mechanically based modus operandi devoid of the technical singing exercises (e.g., agility,

solfege) used by previous generations of teachers.

Criticism of the Stauprinzip

Many pedagogues viewed Armin’s ideas as harmful for voice production and vocal health, so

much so it is necessary to bring attention to the reactions of his peers. His contemporary,

Franziska Martienßen-Lohmann wrote, while there may be some truth in his method, particularly

the idea that air must be sustained in singing, his ideas were extreme and often resulted in voices

being ruined.250 The pedagogues Frederick Husler and Paul Bruns concurred.

Aim of Armin's Treatise

Armin believed the voice was dualistic in nature. For example, the following aspects

demonstrated an inherent dualism - his view of onsets (glottal vs. breathy), vowels (bright vs.

dark), and registers (head vs. chest). Armin suggested this natural dualistic nature did not allow

the voice to be fully manifested. His remedy to this duality was to take the voice apart and rebuild

it using the Stauprinzip (vocal damming), a technique in which stored breath is dammed against

250. Martienßen-Lohmann, Der wissende Sänger, 365-366.

 83

the vocal folds and grounded by a consonant in the upper vocal tract. Through the use of this

technique, the voice could be "unified" and could achieve its full beauty.251

Structure of Das Stauprinzip

Armin addressed four overarching topics in his singing manual Das Stauprinzip:

 Basic principles of the Stauprinzip:

 Introduction to the principles of the Stauprinzip, namely the explanation of the

dualistic nature of the voice and his argument that the Stauprinzip is the only
method for overcoming this dualism and unifying the voice.

 The dualistic nature of tone production and the way to achieve balance:

 Types of onsets advocated in contemporary vocal pedagogy (glottal attack and

consonant-based onset);

 Various approaches to breathing;

 In depth review as to how the Stauprinzip affects the voice’s dualism;

 Dualism of registration, i.e. head vs. chest voice.

 Dualism of vowel formation:

 Examination of the dualistic properties of vowels - high spectrum flat vowels vs.
low spectrum cavernous vowels;

 Technique to overcome vowel dualism through the Stauprinzip and Rundung

(rounding of the vowels);

 The consonant and its effect on tone production.

 Other aspects of the voice training:

 Issues arising after the voice has been unified through the Stauprinzip, including
scales, dynamics, and diction.

Respiration

Armin believed there were two fundamental characteristics to the breath process - dammed

function and sounding function in his Stauprinzip.252

251. Armin, Das Stauprinzip, 1-2.

252. Ibid., 16.
 84

 Dammed function (stauen) consisted of an exaggerated muscular expansion of the upper

rib cage and a powerful damming of the breath against firmly closed vocal folds.253 The
vocal folds were key to the process since they served as a counterbalance to the dammed
air. This created a balance allowing the larynx to be under no undue strain.254

 Sounding function marked the phase when properly stored air changed into what he
called the "ideal tone.” This came about by the balancing of what Armin called the
"lower and upper voice.”

Lower Voice – Breath Support

The lower voice was what Armin meant by breath support. In other words, this was the

dammed air created through extreme muscular tension and expansion of the chest. Armin

developed his theory of the lower voice using Friedrich Schmitt’s model who also recommended

maximal expansion of the chest and filling of the lungs. Through the expansion and tension of the

lower body Armin believed all resistance was removed from the larynx, thus allowing for a freely

produced tone.255

Upper Voice – Sympathetic Resonance Breath Connection

Armin believed this lower voice (breath, now transformed into tone) had to be grounded to

what he called the "upper voice.” This upper voice, was defined by Armin, as a “support” point of

sympathetic resonance, which could only be created through the help of a consonant that

“concentrated” the tone.

This connection between breath and resonance draws many similarities to the Italian model of

imposto (breath-resonance connection). Nonetheless, Armin’s muscular approach is foreign to the

Italianate method of singing, which advocated a much more elastic use of musculature and

“spinning” air. In sum, Armin noted the duality between this upper and lower voice could only be

unified through the Stauprinzip, as the dammed air set the correct circumstances for the laryngeal

mechanism to function properly.256

253. Ibid., 17-18

254. Ibid., 17, 20.
255. Ibid., 11-14.
256. Ibid., 16, 99.
 85

Posture

In the Stauprinzip, posture played an important role in respiration permitting the body to

correctly store and dam the breath. Armin argued for a military-like posture thereby allowing the

entire strength of the lower body to dam the air against the vocal folds. He noted this tense

physical posture of the lower body would release tension in the larynx. Without the Stauprinzip,

freedom in the larynx would not be possible and it would not be able to function freely.257

Support Point

Armin discussed the point at which the singer should feel support when singing. He stated at

the beginning of vocal study, support would only be detected in the upper rib cage. As the student

progressed, a sense of support developed lower in the body, with the student having a sensation of

muscular engagement in the lower back and diaphragm.258

Interpreting Armin’s views on respiration presents some challenges. Armin’s principles, in

some ways, reflected the technique of the appoggio (diaphragmatic-costal breathing). This means

he saw the importance of posture, a connection between breath and resonance, and the

significance of maintaining the expansion of the rib cage throughout a sung phrase.

However, his views are a gross exaggeration of the Italian method. In particular, in Armin’s

view, appropriate posture was to be military-like instead of a flexible dynamic pose. Furthermore,

breath was to be strongly dammed against the vocal folds instead of maintaining a vibrant balance

of subglottic pressure. Such an approach can only result in rigidity and a tense tonal quality,

which, beyond poor technique, was harmful to the singer’s vocal health.

While written accounts are open to misinterpretation and it is possible that Armin was

advocating a balanced approach, contemporary critics, namely Martienßen-Lohmann and Husler,

suggest this was not the case. The consensus is that Armin’s method was too muscular of an

257. Ibid., 18.

258. Ibid., 20.
 86

approach.259 Such a method has no place in the modern voice studio.

Phonation

Armin reviewed different types of onsets and the way in which they corresponded to the

teaching methods at the time.

 Hard onset (glottal attack)260 - Armin challenged Manuel Garcia II’s teaching of the coup
de glotte (stroke of the glottis), dismissing the existing view of modern vocal scholars
that Garcia did not advocate a glottal attack, but rather a concentrated balanced attack. In
contrast, Armin believed Garcia endorsed a pure glottal attack. He further suggested
Garcia's approach coincided with the raising of the larynx.

Armin believed this type of attack was not useful for classical singing and was harmful to the

vocal mechanism. He saw it as a mark of the scientific method of singing, a popular approach to

singing throughout Europe whose supporters in addition to Garcia were the pedagogues and

scientists Helmholz, Seiler, Stockhausen and Marchesi.

 Onset combined with a consonant (die Silbenstudie) - Armin critiqued another type of
onset promoted in Germany at the time, an onset combined with a consonant. Armin saw
this type of onset as representative of the teaching of Müller-Brunow. In some ways,
Armin found Müller-Brunow's method useful, as it helped to find a good forward
placement through a breath-resonance connection, what Müller-Brunow described as a
“consonant connected to the bow-like stream of breath.”261

Armin noted this approach was useful in avoiding a hard, glottal onset. Nevertheless, Armin

also criticized Müller-Brunow's approach believing it focused solely on placement and avoided

the importance of the breath. Armin felt this lack of lower support resulted in a voice that was too

elastic and lost its voluminous tone. Armin believed a full tone could only be created through the

Stauprinzip, i.e. combining sympathetic resonance created by the consonant combined with lower

“dammed” support. This method, in his view, allowed for the eradication of the duality of the

upper and lower voices as discussed in the respiration section.262

Armin modeled his approach to phonation on Müller-Brunow’s method of using a consonant

259. Paul Bruns, Minimalluft und Stütze (Berlin-Charlottenburg: Walter Göritz, 1929), 13; Husler
and Rodd-Marling, Singing, 44-46; Martienßen-Lohmann, Der wissende Sänger, 366.
260. Armin, Das Stauprinzip, 16.
261. Ibid., 7-8.
262. Ibid., 6-10.
 87

in conjunction with an onset. However, Armin differed saying this should only occur with a much

stronger connection to the singer’s breath. When Armin’s muscular approach is ignored, this

advice is beneficial, drawing on the Italian method of appoggio and imposto with no separation of

breath support and placement. Nevertheless, the muscular nature of Armin’s method suggests this

too was a distortion of these Italian principles.

Resonation

Duality of Vowels

Armin thought vowels were dualistic in nature having two characteristics - Flach (flat, high

spectrum) vowels and Hohle (cavernous or hollow, low spectrum) vowels.263 As with all other

dualistic aspects of the voice, Armin felt vowels had to be unified for the voice to be fully

developed.

To solve this problem, Armin used mixed vowels in a technique he referred to as Rundung

(rounding).264 In Rundung, forward vowels such as [i] and [e] were merged with back vowels

such as [o] and [u], thereby creating mixed vowels such as [œ]. In fact, this was Armin’s

preferred vowel in creating a “round” tone. Similar to Müller-Brunow,265 he called this mixed

vowel the primary tone.266 In addition to [œ], the other most useful vowel in Armin’s view was

[y] (especially in acquisition of the upper range for men).267

From these two vowels, [œ] and [y], the singer then had a basis to develop the other vowels.

Armin thought that once the singer could correctly produce the primary vowel, he/she would then

find the coordination of all other vowels through vowel harmony (timbre matching).

Figure 8.1. demonstrates the development of the vowels. Using the vowel [œ] as an example,

the singer first began with a darker form of the [œ] vowel, which, through the Stauprinzip,

263. Ibid., 60.

264. Ibid., 67.
265 While similar, Müller-Brunow recommended the closed [ø] while Armin advocated the open
[œ].
266. Armin, Das Stauprinzip, 81.
267. Ibid., 69.
 88

developed into the pure form of the [œ] vowel. After proper coordination of this tone was

achieved, the singer then moved to the rest of the vowels until a balanced tone on all vowels was

attained. (In this chart this full development of tone is noted as the [a] vowel under Endbildung -

end of training. This is the vowel he saw as the most difficult to balance).268

Figure 8.1. Vowel Development

Armin’s method, like Müller-Brunow’s, for finding tonal balance was through development

of the Primärton, an approach similar to the modern teacher Oren Brown’s primal sound strategy.

However, Armin differed from Müller-Brunow and Brown on tonal preference. Armin’s teaching

reflected an inclination towards a darker tonal quality, created through a technique he called

Rundung.269 This tonal preference, when combined with his recommendations for breathing,

further suggested a muscular approach to singing. It is highly unlikely that such an approach

could result in healthy, well-balanced vocal production.

268. Ibid., 81.

269. For instance, when considering the above chart (figure 8.1), his suggestion was that singers
begin with a darker form of the [œ] further implies Armin’s preference.
 89

Registration

Dualistic Nature of Registers

As with vowels and onsets, Armin believed the voice in its natural state was dualistic, i.e.

chest voice vs. head voice or falsetto. He suggested this dualism could not be corrected through

the commonly held view of Verschmelzung, or the fusing of registers in which they lose their

individual characteristics creating a so-called voix mixte (mixed voice). Rather, Armin concluded

that registers should achieve an Ausgleich (a balance) in which the abrupt contrast between the

chest voice and head voice/falsetto was lessened, but with both registers retaining their individual

characteristics.270

Stauprinzip and Ausgleich

According to Armin, the only method to accomplish an Ausgleich (balance) was through the

Stauprinzip. Armin believed the coordination of the Stauprinzip could only be developed in the

chest register. As a result, he placed great importance on strengthening the singer’s chest voice to

achieve balanced registration.

He noted that when first learning the coordination of registration, the student would be able to

sing only a few pitches correctly. As the student progressed, range would gradually expand to

both higher and lower registers maintaining an even sound quality. This even quality was due to

the fortification of the chest voice; it was the element that made falsetto (head register) artistically

viable.271

Armin’s views on laryngeal registration diverge dramatically from the views of contemporary

teachers and modern pedagogues. The majority of scholars both then and now argue for a

dynamic balance between chest voice (thyroarytenoid-dominant production) and head voice

(cricothyroid-dominant production) in which the two qualities mix together to become one

register. Armin was critical of this approach, what he called Verschmelzung, “fusing.” Instead he

270. Ibid., 50.

271. Ibid., 50-51.
 90

advocated for Ausgleich (balancing) in which the two registers retained their same individual

qualities while attempting to only lessen the contrast between them.

Armin’s approach complicated registration. By attempting to maintain separate laryngeal

adjustments, it makes it more difficult to unify the voice. In this situation. the singer must be

continually attentive to registration. In contrast, elite singers often speak about the sensation of no

registers.272 Yet this can only truly occur if the muscles of the larynx function automatically to

create a dynamic imperceptible balance between the cricothyroid and the thyroarytenoid

muscles.273

Furthermore, Armin’s strong emphasis on chest voice as the only method to initially develop

the coordination of the Stauprinzip is particular troubling. While individual voices have unique

qualities, most voices already have a tendency toward a thyroarytenoid-dominant sound, as this

muscle is used regularly on a daily basis during speech. Consequently, often when singers attempt

to ascend the scale with a chestier adjustment (TDP), they will in turn engage the swallowing

muscles that pull the larynx upwards.274 To counteract this, a head-down approach is a better

solution to unifying registers.

Vowels and Registration

Passaggio Points

Armin noted the presence of registration or passaggio points in the human voice. These were

points where an audible change in tone quality was heard in the untrained or beginning singer.

Armin like Mannstein, saw these points divided into tetrachords (register breaks the span of five

semitones or were a perfect 4th apart). Armin believed these changes were best balanced through

vowel modification.275

272. Michael Trimble, Richard Di Renzi, and Christopher Arneson, Fundamentals of Great Vocal
Technique: The Teachings of Michael Trimble, (Delaware, OH: Inside View Press, 2013), 102.
273. Brown, Discover Your Voice, 52-53.
274. The Voice Foundation, “Therapy for Singers Part 1, Brown,”
https://www.youtube.com/watch?v=8VpgvqN-53o.
275. Ibid., 86.
 91

Vowel Modification

Consistent with his view on balancing vowel color, Armin recommended the use of mixed

vowels in blending registers. By balancing resonance through vowel modification, Armin

believed a singer could achieve an even scale. He, therefore, recommended at first solidifying an

even transition over all tetrachords (registers) using solely mixed vowels. After this was

adequately accomplished, the student was allowed to move onto the other vowels.276 A detailed

discussion of the process is presented below first for the male voice (in this example a tenor), and

secondly for the female soprano voice.

Male Registration

Figure 8.2 illustrates the typical process for the tenor voice type in achieving balanced

registration. Armin would have the singer practice chest voice (Brustregister) and head voice

(Falsettregister) separately. At first, the singer was to use mixed vowels, primarily the more

closed [ø] and open [œ] in the lower range (listed on the chart as ö and œ), and in the upper

chest/falsetto range the vowel [y], which Armin believed was best for accessing the upper range

(listed on the chart as ü).277 Armin felt this would teach the student the position of the other

vowels, which would then be fully developed through vowel harmony (timbre matching).278 He

noted in the end, the result would be an even tone on all vowels with no abrupt change in tonal

quality throughout the scale.279

276. Ibid.
277. Ibid., 89.
278. Ibid., 86.
279. Ibid., 87.
 92

Figure 8.2. Use of Vowels to Achieve an Even Scale in the Tenor Voice280

Female Registration

Figure 8.3 below demonstrates the way in which Armin would teach a soprano to achieve a

balanced scale. The voice was first developed according to the principles of the Stauprinzip in the

chest register as this was the only range in which the method could function for a beginning

student. This range, in Armin’s view, was from C4-C5. Here, the singer was to use the Primärton

vowel [œ]. As the student ascended the scale, she was to then close the vowel to [y].

Once this coordination was adequately developed, the student then moved on to develop the

falsetto register (head voice). To do so, Armin instructed his sopranos to sing, now with a head

voice adjustment (CDP), the closed vowel [y] from C4-C5, from C5-F5 the open vowel [œ], and

from G5-C6 a more open vowel [a].

280. Ibid., 86.

 93

Figure 8.3. Use of Vowels to Achieve an Even Scale in the Soprano Voice281

While Armin’s views of laryngeal registration do not match most modern pedagogue’s views

of registration, his view of vowel modification is helpful. The vowels Armin chose to achieve an

even scale are appropriate for the voice types he discussed.

First, in the tenor voice, the mixed vowel [y] is a favorable vowel, as the vowel is generally

easier to balance through the passaggio since it consists of a low first formant and a high second

format. Furthermore, the [u] aspect of this mixed vowel creates a reflex action which

automatically lowers the larynx and raises the soft palate.282 Both of these elements aid the tenor

in “turning the voice” and developing a unified scale.

Secondly, the vowels Armin recommended for the soprano were also beneficial. A closed

vowel in the lower to middle range generally is easier for a female to sing; however, as she

ascends the scale, the singer must open the vowel to properly track the first formant.283

281. Armin, Das Stauprinzip, 90.

282. Brown, Discover Your Voice, 55.
283. Bozeman, Practical Vocal Acoustics, 28-29.
 94

Other Important Aspects

Diction

Armin was highly critical of the Italian influence on singing in Germany, namely the effect it

had on text comprehension. He asserted Italian bel canto principles were primarily designed for

sound effects, and that Italianate teachers recommended the avoidance of sharp articulation of

consonants believing it would disrupt the legato vocal line.284

In contrast to the Italian method, Armin strongly emphasized the aesthetical importance of

sung text and promoted the view that singers should have stronger articulation. To sum up his

thinking, Armin said voice building was nothing more than text building. In his view, text

building led to diction, and diction led to declamation.285

Summary of Armin’s Treatise

1) Place in History

 Armin was a central figure in the contentious debate with Paul Bruns
(Minimalluft) over pedagogical principles.

 He combined principles of Müller-Brunow’s and Friedrich Schmitt’s methods in

creating his own technique.

 He was a controversial teacher in Germany because of his extreme muscular

approach to singing.

2) Respiration

 Proper respiration is built upon principles of the Stauprinzip.

 Two important aspects of respiration are the dammed function and sounding function.

 Posture should be military-like with a tense lower body, which releases tension in the
larynx.

 Support will first be felt in the upper rib cage but will move lower as the student
progresses.

284. Ibid., 118.

285. Ibid., 119.
 95

3) Resonation

 Vowels are dualistic in nature (flat, high spectrum vowels vs. cavernous low spectrum
vowels).

 Mixed vowels (e.g., [œ], [y] work to break down this duality and achieve a balanced
tone).

4) Phonation

 The hard glottal onset is harmful and is not useful for artistic singing.

 An onset combined with a consonant is valuable, but must be combined with the
Stauprinzip to achieve a proper tone.

 Emphasis on connection between the breath (what Armin called the lower voice) and the
upper vocal tract (what Armin called the upper voice).

5) Registration

 Registers are dualistic in nature (head vs. chest voice).

 Registers should not be fused (Verschmelzung), but rather balanced

(Ausgeglichen).

 Register breaks are divided into tetrachords; vowel modification originating

from mixed vowels is the way to balance these breaks.

 Vowels suggested for adjusting registers are appropriate for the individual voice
types discussed.

6) Other Important Aspects

 Italianate bel canto principles placing vocalism over clarity of diction are not fit for
German vocal music.

 Voice building leads to declamation, which is the ultimate goal of vocal study.
 Chapter 9: PAUL BRUNS (1867-1934)
Minimalluft und Stütze (1929)

The tenor Paul Bruns was a well-regarded voice teacher and author. He is best known for his

views on the use of Minimalluft (minimal air) in the singing process, and through his views,

became a prominent figure in the aesthetical debate with the vocal pedagogue George Armin

(Stauprinzip).

Biographical Sketch

Paul Bruns was born in Werden/Ruhr on June 13, 1867. He studied law in Berlin, Bonn,

Marburg, and lastly in Leipzig, where he graduated with a Juris Doctor. While in Leipzig, Bruns

also studied both musicology with H. Kretzschmar and voice with L. Törsleff. He continued his

vocal studies with B. Corelli in Leipzig.

As a young man, Bruns published writings on vocal pedagogy, serving as a publisher for the

magazine Der Kunstgesang (1895-1900) and for the journal Gesangkunst (1900-1902). Bruns'

teaching career began in 1902 when he became a faculty member at the Eichelbergschen

Konservatorium in Berlin as a voice teacher. In 1906, Bruns joined the famous Stern’sches

Konservatorium in Berlin, where he furthered his reputation as a pedagogue, becoming a highly

regarded voice teacher throughout Germany. Among Bruns successful students were John Gläser

Willi Domgraf-Fassbaender and Emmy Neiendorff.286

Place in History

Paul Bruns’ Minimalluft und Stütze is significant for its connection to George Armin’s

Stauprinzip. Bruns saw many problems with Armin’s concepts and similar singing methods being

taught in Germany at that time. He felt techniques being taught were too muscular and "against

the nature of the human body.” In response and particularly in rebuttal to Armin's Stauprinzip,

286. Friedrich Blume and Ludwig Finscher, Die Musik in Geschichte und Gegenwart: Allgemeine
Enzyklopädie der Musik Personenteil 3 (Kassel, Bärenreiter, 2000), 1156.

96
 97

Bruns recommended an approach focused on muscle relaxation and minimal air in singing. His

comparison and analysis of the two different approaches, his Minimalluft and Armin's

Stauprinzip, best captures the nature of this argument.

Aim of Bruns' Treatise

Bruns set out to demonstrate through “diaphragmatic breathing” only a minimal amount of air

was needed for optimal singing.

Structure of the Minimalluft und Stütze

Paul Bruns' singing manual focused on the relationship minimal air has on all aspects of the

singing process, i.e. resonation, phonation, and registration. All section headings in his book used

minimal air as the starting point.

 Theory of Minimalluft und Stütze (minimal air and support);

 Relationship between minimal air and the diaphragm;

 Association between minimal air and future methods of breathing;

 Link between minimal air and registration (registers in general and the importance
falsetto);

 Correlation between minimal air and phonation (Freilauf);

 Bond between minimal air and resonance (partial tones or singer’s formant).

Respiration

In his manual, Bruns differentiated between two approaches for breath support, the Germanic

Stütze and Italianate appoggio.

 Stütze - Bruns identified Stütze as the muscular approach to breath support advocated by
many voice teachers in Germany at the time. However, it was an approach he strongly
criticized. He characterized Stütze as having four qualities.287

 Emphasis on a supported or strengthened tone;

 Focus solely on breath support (breath support is separated from other aspects such as
resonance);

287. Paul Bruns, Minimalluft und Stütze (Berlin-Charlottenburg: Walter Göritz, 1929), 8.
 98

 “Pumping the lungs full of air:” taking in as much air as possible, and retaining as
much air as possible during phonation;

 Over-tension of lower body musculature.

 Appoggio (to lean upon) was the Italianate approach to breath support and the technique

Bruns recommended and taught to his students. It served as the basis for his Minimalluft

principle. He identified the following elements that were a result of appoggio.

 Breath support was connected with nasal resonance;

 It was not created through muscular tensing of the abdominal muscles, or as he called
it a “stomach exercise;”

 It was connected with head voice and register adjustment;

 It allowed for carrying power (i.e. correct acoustical properties).

Bruns believed Germans were unable to separate the word stützen (to support) from words

built on physical strength, such as drücken (to push) and pressen (to press).288 Consequently,

through Stütze, effortless legato, messa di voce, and free-flowing air (Freilauf) were

impossible.289 Further, he felt these limitations made the German singer a “stranger” to the

concept of appoggio.290

Subtler Use of the Diaphragm

In Bruns' view, the diaphragm was the phonation muscle, allowing the singer to successfully

use a minimal amount of air during the phonation process.291 While other German teachers and

authors also recognized the importance of the diaphragm in singing, Bruns believed the approach

should be subtler than concurrent German methods such as the Stauprinzip.

He noted that by “pumping the lungs full of air,” “over-cramping the abdominal muscles,”

and by “pressing the flanks,” a condition was created, termed dysphonia spastica (involuntary

288. Ibid., 9.
289. Ibid., 15.
290. Ibid., 9.
291. Ibid., 22.
 99

spasms in the larynx during phonation).292 A singer developed this condition because the

diaphragm was unable to fully descend due to too much muscular tension. Bruns used the

example of Enrico Caruso's success as a singer to illustrate his point, saying Caruso's messa di

voce and decrescendi were not a result of overfilling the lungs with air, but rather by allowing the

diaphragm to move the furthest.293

Process of a Good Breath

Bruns provided detailed description about correct components of respiration for singing.

 Deep breathing is not a conscious activity;

 The singer should take a breath that is long and slow;

 The breath should not be sudden or with a sense of angst;

 Breath should be taken as if one was “smelling a flower;”

 In a good breath, it is not possible to feel the diaphragm;294

 “Breath gymnastics,” i.e. over-tensing the musculature of the abdominal region, should
be avoided;295

 The singer should focus on expiration more than inspiration, thereby allowing the breath
to be inhaled without too much muscular tension.296

Bruns’ description of breathing reflected diaphragmatic-costal breathing with strong

Italianate underpinnings. For example, Bruns stated there was a strong connection between breath

and resonance, he advocated for a long slow inhalation (respiro) and that the breath should be

taken as if one were smelling a flower.

However, his discussion of the musculature involved in the process presents some concerns.

Bruns stated throughout his singing manual that the breath musculature must be completely

relaxed for the singer to breathe well for singing. This seems to underplay the muscular

292. Ibid., 22.

293. Ibid., 24.
294. Ibid., 23.
295. Ibid., 30.
296. Ibid., 37.
 100

involvement needed for the task, as a notable expansion of the lower ribs is required upon

inhalation and must be maintained throughout phonation.297

In addition, the abdominal muscles must remain taut (while still allowing for some abdominal

expansion) because of their important role in supporting the weight of the viscera and propping

up the rib cage.298, 299 Thus, some amount of muscular tension is needed. Martha Lipton’s

comment about whether or not a singer should relax clearly makes the point: "You'll have plenty

of time to relax when you're six feet under."300

Before dismissing Bruns’ ideas, the setting in which he was making these statements is

relevant. Some of his contemporaries were at that same time advocating methods similar to

George Armin’s muscular approach. When considering this, Bruns’ view that the breath

musculature should be relaxed is understandable. In such a context, it is more likely he was

suggesting a flexible musculature rather than “relaxation.”

Resonation

Partial Tones and Minimalluft

Bruns believed there was a strong link between breath and resonance, or as he stated, a strong

connection between the sensation of resonance in the skull and the releasing action of the

diaphragm. As a result, the singer was able to develop a tone that would have carrying power and

beauty of tone. He felt this connection would not be possible if abdominal muscular tension and

overcrowding of the lungs impeded the natural free descending action of the diaphragm.301

Bruns was firmly committed to the idea that the Minmalluft approach was key to avoiding

this unneeded muscular tension. He was emphatic that the only way a singer could develop partial

tones (overtones) was through a total relaxation of the respiratory muscles through an intake of

297. Dayme, Dynamics of the Singing Voice, 87.

298. Ibid., 88
299. Brown, Discover Your Voice, 26.
300. From email discussion on Feb. 23, 2016 with Davis Hart, who was an accompanist in her
studio for many years.
301. Bruns, Minimalluft und Stütze, 9, 87.
 101

minimal breath. He saw it as a mistake to believe that a singer could make this “acoustic

phenomenon” occur through force.302

Vowels, Consonants and Partial Tones

In addition to the correct breath function, Bruns believed certain vowels and consonants

could help the singer find proper resonance. To achieve this coordination, he recommended

singers use the vowels [u] [i], and [e] because they assisted in finding sympathetic resonance.303

Bruns also felt consonants were beneficial in accomplishing balanced resonation. He suggested

consonants were a tool to create a breath resonance connection because they resulted from

intervention of the diaphragm.304 Bruns viewed this connection as the origin of desirable

sympathetic nasal resonance.

In practice, Bruns specifically recommended use of nasal consonants. He included the

following example to demonstrate a useful exercise to develop ideal resonance:

 Whisper words such as “münn” or “nimm” to activate the diaphragm;

 Then practice the words on a voiced staccato;

 Follow by speaking words such as “mühende” in a musical rhythm; this last stage
simulates the singing process, as speech is elongated into an almost singing quality;

 Important in this process is that the singer should not be aware of the diaphragm, but
rather the acoustical ring in the room. In addition, attention should be placed on
sympathetic resonance, namely a placement point at the sinuses in the front and back of
the nose.

Falsetto and Partial Tones

Bruns thought the falsetto function assisted with range and registers, but also helped to

strengthen partial tone formation.305

His discussion related to resonation highlighted an important point for his students, i.e. the

role acoustics play in developing carrying power and how it is created through dynamic

302. Ibid., 81.

303. Ibid., 39.
304. Ibid., 33.
305. Ibid., 48.
 102

coordination rather than tense muscular effort. If Bruns’ assertion of “relaxation” was to mean

flexible dynamic muscular involvement, Bruns’ views were correct.

Specifically, Bruns’ discussion implied the Italian principle of imposto in which the

connection between breath, resonance, and phonation optimally work together. This principle

suggests the following elements are present:

 Flow phonation, producing the best type of vocal vibration (strong fundamental
frequency, a moderate roll of in power, and a good set of high harmonics);306

 Well-positioned vocal tract, suggesting that a comfortably low laryngeal position is

present, a raised soft palate, and a tongue that lies forward in the mouth with the tip
resting at the front teeth. The position allows for the creation of singer’s formant, a
formant cluster with an average spectrum frequency around 3000 Hz.307 It is this
acoustical phenomenon that allows the voice to be heard easily over an orchestra.308

This type of coordination is the best approach to developing carrying power.

Bruns’ practical methods based on refinement of speech to develop this coordination were

also beneficial and reflected methods of Hey, Müller-Brunow, and Schmitt. The key point is that

refined speech works with the student’s natural coordination to develop imposto.

Phonation

Freilauf

Bruns identified Freilauf (“free-running of air”) as the type of phonation resulting from a

Minimalluft approach. He described the Freilauf phenomenon as a sound that “envelops all latent

sound possibilities in every range, width, carrying power and sensuality.” He felt the way to

achieve this sound was to relax all muscles involved in respiration (abdominal, intercostal, etc.)

and allow the air and diaphragm to do the work. Bruns stated that because the diaphragm was an

involuntary muscle, it would positively affect the other muscles involved in phonation to thus

create a balanced tone.309

306. Bozeman, Practical Vocal Acoustics, 5-7.

307. Ibid., 17.
308. Dayme, Dynamics of the Singing Voice, 130.
309. Bruns, Minimalluft und Stütze, 94.
 103

Primal Response

Bruns viewed the best approach to learning correct engagement of the diaphragmatic muscle

was through primal sounds such as laughing. He noted that because the diaphragm was an

involuntary muscle, it could not be consciously engaged as the singer could manipulate the

musculature of the tongue, for example. Instead diaphragmatic movement was automatic.310

Creating Proper Phonation

Bruns listed the following sequence to induce proper phonation, or what he called Freilauf:311

1) Begin with a sustained exhalation on the consonant [f] or [s], assuring there was no
tension in the lower body;

2) Next, move to pronouncing words in whispers, words comprised of the vowels [i], [e],
and [u] (e.g., Lift, Gift, Gruft, Schuß,)

3) Follow by three syllable words such as Tivoli, Kanada, Marmar;

4) Finally, as the exercise progresses, the whisper should develop in volume.

Through this exercise, the student learned the coordination for sustaining long legato phrases.312

The Freilauf phenomenon Bruns’ wrote about reflects the present day myoelastic-

aerodynamic theory of voice production. In this theory, the vocal folds approximate to the

thought of a pitch and are fully adducted by the air passing between them consistent with

principles of the Bernoulli effect.313 Addressing phonation from this perspective likely benefitted

his teaching because it suggests interplay between a dynamic muscular coordination of the vocal

folds and breath, allowing the airflow to do the work for the singer.

His practical application of the Freilauf principle was a useful strategy, foreshadowing Oren

Brown’s primal sound approach. Through the use of sounds such as laughing or crying, this

coordination was automatically achieved.314 These automatic phonatory adjustments could serve

310. Ibid., 18-19.

311. Ibid., 38-39.
312. Ibid., 37-41.
313. Brown, Discover Your Voice, 45.
314. Bruns, Minimalluft und Stütze, 39.
 104

as the basis for fully developing a singer’s instrument.

Registration

Falsetto Function

Bruns believed falsetto played an important role in the acquisition of well-balanced registers.

He used contemporary scientific evidence to support his opinion and felt the issue was so clearly

supported it was no longer open to discussion or argument.315 Falsetto, in his view, was vital to

strengthening the mechanisms of both the upper range and middle voice.

The Upper Range

When describing the way in which the falsetto function affected high notes, Bruns suggested

high notes that "rang in the hall" were nothing more than an acoustically strengthened falsetto

function. He pointed out that falsetto, when combined with the Freilauf principle, allowed the

vocal folds to be stretched to their full capacity.316 He noted to achieve this function, the singer

had to avoid muscular tension of the abdominal muscles317 and his Minimalluft technique set the

conditions to awaken this sound.

Bruns emphasized the importance of the falsetto using the upper range of the tenor voice as

an example, making the following points.318

 An incorrect approach to falsetto, caused by muscle tension, would cause the singer to
fail already at G4 or A4;

 The acoustic region of the high B4 natural and C5 was dependent upon falsetto;

 A sick voice (physiological poor condition) was incapable of falsetto;

 Acoustically strengthened falsetto in the upper range had the same volume as the mezzo
forte or forte of a lyric tenor in the middle range;

 A tenor without falsetto is not a tenor (physiological poor condition).319

315. Ibid., 48-49.

316. Ibid., 51.
317. Ibid., 50.
318. Ibid., 49-50
319. Ibid., 53.
 105

The Middle Range

In addition to the importance of falsetto in the upper range, falsetto significantly affected the

middle voice. Regarding this, he mentioned the following points.

 Falsetto is important in strengthening the mechanism of the middle voice;

 Fortification through falsetto of the middle voices developed chest voice timbre

qualities;320

 It assisted in creating partial tones that helped the carrying power of the voice (singers

formant);321

 It supported the creation of well-blended registers.

Bruns believed future discussion of register adjustment by vocal scholars would no longer be

focused on the importance of one register over another. Rather, balance of registers would be

adjusted due to the presence of partial tones in the voice and through the degree of chest vs. head

voice (falsetto) needed in the sound.322

Similar to three other pedagogues, Mannstein, Schmitt, and Sieber, Bruns saw the importance

of falsetto in strengthening the vocal mechanism. Noted earlier, because the musculature involved

in creating pitches in this range is generally weaker, exercising the falsetto would have had a

positive benefit by strengthening the overall vocal mechanism.323

Dangers of Deckung (Covering)

Bruns strongly criticized the German technique of Deckung, a muscular mechanical approach

to register adjustment at passaggio points. He believed this muscular register adjustment created a

tone that sounded “strangled” and resulted in a loss of resonance. He thought the correct form of

“covering” or register adjustment came as a result of the Freilauf phenomonen.324

320. Ibid., 58.

321. Ibid., 48.
322. Ibid., 57.
323. Brown, Discover Your Voice, 61.
324. Bruns, Minimalluft und Stütze, 60.
 106

From this, it can be seen that Bruns also observed the acoustical changes involved in

registration. While he made no mention of vowel modification in his method of singing, his

critique of the Deckung suggests Bruns supported a form of passive vowel modification. This

approach would require the singer maintain a similar vowel posture but allow the vowel to

unconsciously make the tuning adjustments needed. Such modification would allow the harmonic

changes to occur without manual manipulation.

Other Important Aspects of the Treatise

Bruns listed three points hampering the operatic profession in general. These included the

singer’s fight against the size of the orchestra, lack of knowledge from those making operatic

decisions, and poor stagings.

 Issues with the orchestra - Bruns was frustrated by the lack of ability and talent
conductors had in managing their orchestras. He felt the volume of the orchestra
endangered the human voice. In fact, he claimed elaborate stagings in vogue at the time
were used because the focus was no longer on the singer, but instead had shifted to the
orchestra.325

 Ignorant decision makers - Bruns believed conductors, stage directors, and intendants
(i.e. those involved in casting decisions) were not well informed about what was "good"
singing. They were ignorant about the limitations of the voice and the aspects that
contributed to creating the most beautiful tone. In Bruns' view, all those who made
casting decisions needed to be educated in singing and should have been required to
study voice.326

 Poor stagings – Contemporary stagings were designed to be very elaborate, but, in his
view, overshadowed the singers. Furthermore, this focus on staging and scenery created
poor standards for the acoustical needs of the singers. Often singers were placed in
strange positions (e.g., forced to sing upstage) and at other times were at a significant
disadvantage due to the poor acoustics created by the stage set.327

Summary of Bruns' Treatise

1) Place in History

 Bruns served as a prominent figure in the debate between Minimalluft and the
Stauprinzip.

325. Ibid., 104.

326. Ibid., 108.
327. Ibid., 113.
 107

2) Respiration

 He differentiated between the German muscular approach to respiration, Stütze and

Italianate appoggio.

 Appoggio is the basis for a beautiful tone and optimal function.

 The diaphragm should be used in a subtler way than the typical German approach.

 A good breath is based on the following principles:

 Deep breathing is not a conscious activity;
 The singer should take a breath that is long and slow;
 The breath should not be sudden or with a sense of angst;
 Breath should be taken as if one were “smelling a flower”;
 In a good breath, it is not possible to feel the diaphragm;
 “Breath gymnastics,” i.e. over-tensing the musculature of the abdominal region,
should be avoided;
 The singer should focus on expiration more than inspiration, thereby allowing for
inhalation without excessive muscular tension.

3) Resonation

 Partial tones are a result of the Minimalluft method, allowing for a diaphragmatic
acoustical connection.

 Vowels and consonants help the singer access proper resonance.

 Falsetto helps the singer access and strengthen resonance.

4) Phonation

 Proper phonation is based on the principle of Freilauf in which the diaphragm is allowed
to directly affect phonation.

 Proper phonation is caused by a primal response from the diaphragm.

5) Registration

 Falsetto plays an important role in the strengthening of registers.

 Future teachers will approach register adjustment by listening for partial tones
and the ratio of chest and head voice present in the tone.

6) Other Important Aspects

 Bruns saw the following problems with the contemporary operatic profession:
 The singer’s fight against the orchestra;
 Lack of knowledge from those making operatic decisions;
 Poor stagings.
Chapter 10: FRANZISKA MARTIENßEN-LOHMANN (1887-1971)
Der wissende Sänger (1956)

Franziska Martienßen-Lohmann was a distinguished German vocal pedagogue and well

regarded Lieder singer. Through her writing and teaching, she had a long lasting impact on

singing in Germany.

Biographical Sketch328

Franziska Martienßen-Lohmann was born in Bromberg an der Weide, in what today is

Bygoszcz in Poland. She first studied voice in Leipzig and later in Berlin. Her principal voice

teacher was Johannes Messchaert, the well-known Dutch baritone and pedagogue. Through

Messchaert, Martienßen-Lohmann traced her singing lineage back to the teaching of Manuel

Garcia II.

In 1914, Martienßen-Lohmann sang her first professional performances as a concert singer.

Soon thereafter, Martienßen-Lohmann began teaching in Munich, later moving to Berlin and

Weimar. Strongly connected to the teaching of her husband, the voice teacher and author Paul

Lohmann, the couple took professorships in Weimar from 1946-1949. In 1949, they moved to

Wiesbaden, where Paul Lohmann accepted a professorship at that city’s conservatory and in

Frankfurt. At the same time, in 1949, Martienßen-Lohmann also accepted a professorship at the

Hochschule für Musik in Düsseldorf, where she remained until her retirement in 1969.

Martienßen-Lohmann was well-known for her writings about singing, which included

important works such as Die echte Gesangkunst (1934), Das bewußte Singen (1922), Berufung

und Bewährung der Opernsängers (1943), and her most well-known book, Der wissende Sänger

(1956).

She was also a distinguished teacher, training many renowned vocalists, including Hildegard

328. Kutsch, Karl J., Leo Riemens, and Hansjörg Rost, Grosses Sängerlexikon Bd. 4 (München:
Saur, 2003), 2950-2951.

108
 109

Hillebrecht, Judith Beckmann, Leonore Kirschstein, Ingrid Bjoner, Hanna Ludwig, Wilfriede

Lüttgen, Jutta Vulpius, Johanna Rütishauer, Ursula Zehnder, Jakob Keller, Paul Gümmer, Josef

Olbertz, Kurt Wolinkski, Jakob Stämpfli, Hans Sojer, Rudo Timper, Kurt Widmer, Morris

Morgan, and Hermin Esser.

Place in History

Der wissende Sänger is Martienßen-Lohmann’s most notable work. It is still used in

conservatories throughout Germany and is familiar to the majority of singers and voice teachers

in German speaking countries.

Martienßen-Lohmann’s approach marked another major shift in vocal pedagogy in Germany.

She moved away from the physiological-mechanical approach of Müller-Brunow, Bruns, and

Armin to a purely individualized approach customized to each student's needs and talents. She

first wrote about this shift in her book Das bewußte Singen.329 With the introduction of this new

one-on-one approach, pedagogy no longer was addressed in a dogmatic way, but rather as a

system of balance. Martienßen-Lohmann continued to develop her approach in her follow up

book, Der wissende Sänger.

Aim of Martienßen-Lohmann's Treatise

Der wissende Sänger presented the most important concepts as a compilation of short essays,

each of which discussed key areas of the singing process. These essays were written as practical

learning and reference tools for students so they could easily locate specific essays to answer

questions and solve particular problems.

Structure of Der wissende Sänger

Martienßen-Lohmann’s essays were organized alphabetically for easy reference by the user.

Pedagogical principles and career development were the main themes of her essays. Specifically,

she wrote on the topics of technical aspects of the singing process, performance practice, stage

329. Martienßen-Lohmann, Der wissende Sänger, 148.

 110

presence, psychology of singing, music business, and teaching. The essays were further organized

in the table of contents according to the type of reader. For example, essays on breath and

performance practice were organized under a topic called “the singer,” while “carrying power”

was listed under “those who judged and cast singers.” She organized her book according to the

following types of readers:

 Singers;

 Those who judged and cast singers - critics, agents, and those who served on juries;

 Those in musical leadership positions - intendant, kapellmeister, stage directors;

 Musicians - composer, conductor, pianist.

She also added ancillary groups:

 Those interested in singing (choral director, music teachers, concert goers);

 Those in charge of culture (librarians, city administrators);

 Those who deal with professional voice users (pedagogues, voice doctors, scientists).

Respiration

Martienßen-Lohmann made the following points related to four key topics of respiration,

including the process of taking a good breath, importance of posture, definition of appoggio, and

the importance of the diaphragm.

Elements of a Good Breath

Martienßen-Lohmann listed five elements the singer must achieve when learning to

breathe:330

 Silent inhalation, noting inhalation should be inaudible (a noisy breath upset the freedom
of the larynx);

 Ability to sing long phrases;

 Reliance on a quick elastic breath that is often unnoticed;

 Learning to take a calm breath without any “thrusting” (i.e. sudden movement of the

330. Ibid., 36.

 111

respiratory muscles, which would cause tension);

 Achieving and maintaining good vocal fold closure (or the air will be blown out).

Importance of Posture

She felt posture in itself was a form of “low-breathing,” setting the conditions to allow the

breath musculature to work properly.331 Thus, the process of taking a breath was based on a

gestalt view. Proper support through correct posture was not a "magical" quality, but rather the

consequence of full body training and vocal fold closure.332

Appoggio vs. Stütze

In her discussion of appoggio, Martienßen-Lohmann differentiated the concept from the

notion of the German Stütze (support). She believed Stütze was a type of breath support focused

solely on the respiratory process at the expense of other important aspects of singing, e.g.,

resonation, registration, and phonation.

Alternatively, she noted the Italian position on breathing for singing adhered to a gestalt view

of respiration in which all aspects of the singing process were interconnected. In other words,

appoggio affected or was intertwined with all facets of the singing process (respiration,

phonation, registration, and resonation), which in turn worked together creating an equilibrium.333

Appoggio was Martienßen-Lohman’s preferred method. She characterized it as consisting of or

creating the following elements:

 A connection between breath and the sympathetic resonance (imposto), what she called
“skull sound;”

 The presence of legato in the singer’s phrasing;

 Noble body posture;

 Breath power and full vocal fold closure;

331. Ibid., 37.

332. Ibid., 386.
333. Ibid., 31-32.
 112

 Balanced tone and resonance;

 Elastic singing.334

The Diaphragm

Martienßen-Lohmann stressed the importance of the diaphragm, describing it as the "seat of

the soul" for the singer (similar to the ancient Greeks). Because this muscle was strongly

connected to the muscles of the abdomen and the ribs, it was critical to avoid unnecessary tension

in these areas resulting in the diaphragm functioning improperly. Martienßen-Lohmann felt that

without a fully functioning diaphragm, appoggio would be absent, and as a result, the singer

would have no breath control.335

Resonation

Martienßen-Lohmann focused on three points related to resonation: 1) components of a

resonant voice, 2) carrying power, and 3) formants and their relationship to vowels and

registration.

Martienßen-Lohmann’s view of respiration clearly reflected diaphragmatic-costal breathing,

consistent with the modern view of respiration for singing. This is true in her discussion of the

importance of posture, the diaphragm’s connection to the ribs and muscles of the abdomen, and

the connection between breath and resonance (imposto).

A Resonant Voice

Martienßen-Lohmann believed there were two aspects present in all balanced resonant

voices. They were forward placed vowels and an unchanging timbre regardless of vowel color or

articulation.

 "Forward placement” of vowels - Martienßen-Lohmann thought vowels should not be

distorted, i.e. falling back into the throat and thereby losing their natural acoustical
coordination. She noted this was often caused by erroneous movement of the tongue,
throat, or pharynx. To remedy this, she recommended using consonants that would place
the voice as forward as possible, thereby avoiding any distortion in tone quality.

334. Ibid.
335. Ibid., 452-454.
 113

 Undisturbed resonation – the alteration of vowel and consonants in a sung phrase should
not affect the basic sonority of the singer’s timbre. For example, when changing from an
[a] vowel to an [u] vowel, basic core resonance should remain even though the vowel
color changes. In sum, Martienßen-Lohmann said, “the voice is well-placed when the
actual sound space stays undistorted and undisturbed through flawless vowel
formation.”336

Carrying Power

An important point in Martienßen-Lohmann’s treatise was her discussion of carrying power.

To illustrate this phenomenon, she described a familiar occurrence - a singer, when singing in a

small room, has what seems like a very small voice; however, in a large hall, the voice seems to

grow in size. She believed the cause of this occurrence was a result of the vibration of the

laryngeal muscles in combination with head voice resonance. She noted this type of carrying

power was often more important than the size of the voice - a large voice does not necessarily

transfer to good carrying power. Size of a voice, in Martienßen-Lohmann’s view, was more a

characteristic of the voice's beauty.337

Formant, Vowels, and Registration

Martienßen-Lohmann emphasized the importance of understanding the relationship between

vowels, acoustics, and registration. Because vowels are made up of sound formants, they must be

modified to fit the frequencies of the pitch being sung. For example, it is often easier for tenors to

sing a closed vowel in the passaggio, such as [i] or [u]. These vowel shapes contain a low first

formant and a high second formant, which “turn over at lower pitch.”338 Furthermore,

Martinenßen-Lohmann noted, in general, women’s vowels must open as they ascend in pitch,

while the men’s voice must close the vowel. The old Italian castrati, she pointed out, did this

naturally, singing only [a] vowels in the upper range.339

Similar to her discussion on breathing, Martienßen-Lohmann’s views on resonation reflect

336. Ibid.
337. Ibid., 402.
338. Bozeman, Practical Vocal Acoustics, 39.
339. Martienßen-Lohmann, Der wissende Sänger, 115.
 114

present day understanding. Most modern vocal scholars agree on three key points - consonants

can aid the singer in finding sympathetic resonance, carrying power can be deceiving, and

importance of tuning the vowel to the sung pitch.

Phonation

Onsets

Martienßen-Lohmann felt there were three types of onsets, these being a hard (glottal),

breathy, and balanced attack. For these types of onsets, she also saw a connection with the

different registers of the voice: the hard attack was related to the chest voice, the breathy attack

was associated with head voice, and the balanced attack connected with the middle voice.

She, however, noted it was important to develop a balanced onset and flow phonation

throughout all registers, as the balanced onset was vital to the singer’s vocal health.340 Thus, to

clarify, with regard to the correlation between registers and onset, she merely believed different

onsets were characteristic of the voice in its most natural state.

Coup de Glotte and Balanced Onset

The type of onset Martienßen-Lohmann thought most harmful to vocal health was the glottal

attack. This type of attack was strongly associated with the teachings of Manuel Garcia II (coup

de glotte). However, she believed his methods were misunderstood by vocal pedagogues. In

support of this, she shared the view of Stockhausen, a well-known Garcia II student. She noted

Stockhausen maintained that many of Garcia’s students took his ideas beyond what was intended.

Further, Martienßen-Lohmann felt Garcia’s success as a teacher would not have been

possible if his students had sung with such a hard attack. Consequently, she suggested the coup de

glotte was in fact a precise balanced onset in between a breathy and hard attack. This was an

onset she championed. To achieve this coordinated onset, Martienßen-Lohmann listed four

requirements:

340. Ibid., 94-96.

 115

 A low larynx position (this is the most important factor);

 The attack must be absolutely precise (but not hard like the sound of a machine gun);

 Attack must be clean but without any breathiness;

 Attack must not be louder than the respective vowel.

Laryngeal Position

Martienßen-Lohmann thought laryngeal freedom was the entire quest of vocal study. 341 To

achieve this freedom, she commented that many pedagogues often instructed their students to find

a low laryngeal position, a concept made popular through the teaching and writing of Julius

Stockhausen. However, she raised the question as to whether or not a singer could and should

place the larynx. She believed the artificial placing or positioning of the larynx was a mistake and

saw its promotion across Germany as being rooted in a misunderstanding of Stockhausen’s

method. While Stockhausen himself fully understood how to achieve a comfortably low laryngeal

position, many of his students and assistant teachers did not. As a result, the position was taught

and then disseminated incorrectly. For this reason, Stockhausen earned a poor reputation in the

singing community with regard to laryngeal positioning.342

In recognizing the dangers of a fabricated laryngeal position, Martienßen-Lohmann promoted

a moderate approach to determining this position. In her view, the singer's search to establish a

comfortably low laryngeal position took a "lifetime" to fully develop. To find this position, she

felt vowels such as [u] aided the singer. However, Martienßen-Lohmann also suggested a strong

focus on breathing should be the priority to achieve this position. She validated this, citing the

wisdom of the castrati, which promoted correct breathing as the way “to open the throat.”343

Martienßen-Lohmann’s ideas on phonation basically correspond to the modern view. She

believed a low laryngeal position was necessary. She noted three types of onsets, recognizing the

balanced onset was important for vocal health and beauty of tonal quality. And, finally, she was

341. Ibid., 168.

342. Ibid.
343. Ibid., 169.
 116

clear in saying many contemporary teachers and singers misunderstood Garcia’s coup de glotte.

Registration

Martienßen-Lohmann identified three distinct registers, but advocated a "one register" system

as the goal for the singer.344 She described the three distinct registers as follows:

 Chest voice - the register corresponding to the strongest action of the vocalis muscle,
noting that the vocal folds vibrate in their full length and width.

 Middle voice - the register between head and chest voice. It showed similar involvement
of chest voice, but with gradual use of head voice musculature. She emphasized a healthy
voice had aspects of head voice in this register.

 Head voice - the upper register of the human voice: in this register primarily the fringe
area of the vocal folds vibrated.345

One Register

A voice consisting of one register with an even sound was the aim of both the singer and the

teacher. Martienßen-Lohmann emphasized the importance of head voice in creating this balance.

She saw the head voice as “good oil” for blending registers, as its "gliding" factor is what allowed

the one-register system to develop. Thus, she believed the voice was to be strengthened from the

head down. However, while the goal was to eventually move beyond register breaks, Martienßen-

Lohmann stressed that a one-register approach for a beginning student was not appropriate or

recommended. She felt this idea could be confusing to the new singer and that an awareness of

the three registers and how they relate to one another was a prerequisite to developing a unified

one register approach.346

Falsetto

Martienßen-Lohmann was adamant that falsetto had no place in classical singing.347 She

commented that some singers move in and out of falsetto and mezza voce (another word for voix

mixte, a mixed quality of head and chest voice) but to trained ears, this type of singing would

always be apparent. In her opinion, teachers who advised students to practice falsetto to

344. Ibid., 316.

345. Ibid., 314.
346. Ibid., 315.
347. Ibid., 104.
 117

strengthen the mechanism were simply wasting the student’s time. The only benefit for practicing

falsetto was as a relaxation technique, yet over-practicing falsetto led to a weakening of the

instrument.348

Deckung (Covering)

Deckung, a form of covering that called for a mechanical addition of darker timbre (low

spectrum vowels) at passaggio points was, in Martienßen-Lohmann’s view, a harmful practice.

She declared this technique was foreign to the old Italian method. Her view of Deckung was that

the larynx was pushed down and the voice lost its forward resonance resulting not only in a loss

of resonance, but also a “tight” tone.349

Martienßen-Lohmann’s discussion of registration brings up several points. Importantly, her

views on registration represent current understanding of today’s pedagogues and scientists. In

particular, she noted the different laryngeal adjustments involved in registration and the

importance of vowel modification while, at the same time, recognized problems created by the

method of Deckung. Likewise, she commented on the importance of head voice in strengthening

the overall mechanism.

However, her views on falsetto are viewed now as controversial. Martienßen-Lohmann stated

the falsetto had no place in western classical music. It is obvious that she, like Richard Miller,

saw a clear difference between the muscular coordination involved in falsetto and head voice.

Richard Miller notes that while the elongation and stretching of the vocal folds induced

largely by the action of the cricothyroid muscle is similar in both head voice and falsetto, vocal

fold closure is less complete in falsetto.350 Consequently, the sound takes on a “feigned” quality

348. Ibid., 105.

349. Ibid., 72-73.

350. Miller, Solutions for Singers, 154.

 118

that is in stark contrast to the tonal quality of the upper register of a premier singer (e.g. Jussi

Björling’s upper range).351 In this context, Martienßen-Lohmann’s assertions were correct.

Her views, however, on the pedagogical use of falsetto are incorrect. As noted with other

pedagogues, most vocalists routinely use the thyroarytenoid muscle in daily speech. As a result,

the cricothyroid muscle, dominant in falsetto production, is usually significantly weaker.

Through vocalization in falsetto, the muscle will consequently strengthen, therefore adding to a

more balanced laryngeal musculature.352 In sum, Martinenßen-Lohmann was correct that falsetto

has little place in performance (unless one is a falsettist), she was not correct in her view that

falsetto would weaken the mechanism.

Other Important Aspects

Diction

Martienßen-Lohmann addressed two key points about diction - the treatment and use of

consonants and articulation compared to diction.

 Consonants - Martienßen-Lohmann commented that German had a bad reputation as

being a language requiring strong consonants, which was often seen by many pedagogues
as troublesome in singing. She, however took a different view, seeing consonants as
being helpful to diction. In her approach, voiced consonants were important to finding a
balanced tone, noting that these had a long tradition in vocal pedagogy. Furthermore,
unvoiced consonants, often overlooked, were also useful in developing 1) singing power
and 2) finding a forward placed “concentrated” tone.353

 Articulation vs. Diction - Martienßen-Lohmann distinguished how articulation and

diction differed. Articulation focused on training of the mouth, jaw, and tongue. The key
to good articulation was simplification, namely, less articulation was more. She
emphasized that diction was not articulation. Instead, she compared diction to a
gymnastic dance of the articulators in a singing-like declamation.354
Voice Teacher as a Doctor

Martienßen-Lohmann compared teaching voice to the process a doctor uses to diagnose and

treat illnesses. She believed the teacher should diagnose vocal faults in the same straight-forward

manner a doctor would diagnose a medical condition or disease. As with a doctor, a teacher must

351. Miller, The Structure of Singing, 121.

352. Brown, Discover Your Voice, 54.
353. Martienßen-Lohmann, Der wissende Sänger, 196.
354. Ibid., 34.
 119

also be a healer, offering therapy that required expertise and skill. She offered the example of

how useless a complex diagnosis of vocal faults would be for a beginner, saying the beginning

student would be overwhelmed by an in-depth physiological explanation of a vocal

shortcoming.355

Summary of Martienßen-Lohmann’s Treatise

1) Place in History

 Martienßen-Lohmann’s writings marked a new shift from the physiological-

mechanical approach to singing to a more individual approach.

 She had a significant impact on the tradition of singing in Germany as both an

author and as a voice teacher.

2) Respiration

 There are six elements for a proper respiration:

 A connection between breath and the sympathetic resonance (imposto), what she
called “skull sound”.
 The presence of legato in the singer’s phrasing.
 Noble body posture.
 Breath power and full vocal fold closure.
 Balanced tone and resonance.
 Elastic singing.356

 Posture is very important to the breath process. It is a low-breath in itself, as it sets the
correct conditions for the respiratory muscles to function optimally.

 Appoggio differs from Stütze. Appoggio focuses on the entire singing process (resonation,
respiration, registration) while Stütze has a narrow focus, only centering on respiration.

 A good functioning diaphragm is instrumental for achieving appoggio and good breath
control.

3) Resonation

 A resonant voice has characteristics of forward placed vowels and an undisturbed ground
sonority (timbre remains the same regardless of vowel color).

 Carrying power is caused by vocal fold vibration in combination with head voice
resonance.

355. Ibid., 74-76.

356. Ibid., 31-32.
 120

 A firm understanding of formants, vowels, and how they related to registration is

necessary to develop a balanced voice.

4) Phonation

 Three types of onsets had a natural correlation to the three different registers, noting
however the balanced attack should be made throughout the entire range:
 Hard (glottal)/chest voice.
 Breathy/head voice.
 Balanced/middle voice.


 Glottal attack is harmful and should be avoided. Garcia II was misunderstood on this
principle.

 The larynx should lie comfortably low and should be formed by the breath. Stockhausen
was misunderstood on this principle.

5) Registration

 There are three distinct registers corresponding to different actions of the vocal folds:
 Chest register, a strong action of the vocalis.
 Middle voice, mixed action of the vocalis and head voice musculature.
 Head voice, a vocal fold action where only the fringe area of the vocal folds
vibrate.

 Blending the three registers into one register is ideal and is built on use of the head voice.

 Falsetto is not useful in both performing and teaching classical singing.

 Deckung results in a loss of resonance and a tightness of tone; it should be avoided.

6) Other Important Aspects

 Consonants can be beneficial in learning how to sing.

 Articulation and diction are different. Articulation is the training of the mouth, jaw, and
tongue while diction is more of a singing-like declamation.
 Chapter 11: FREDERICK HUSLER (1884-1969)
Singen: die physische Natur des Stimmorganes (1965)

Frederick Husler was a professional operatic tenor and a prominent vocal pedagogue. His

teaching and pedagogical views greatly influenced the development of the German approach to

singing.

Biographical Sketch357

Frederick Husler was in born in Utah in 1884 to a Swiss father and a German mother. When

he was eight years old, his father died and the young Husler returned to Germany with his

mother. Husler was not a naturally talented singer, and because of this, he had to work hard to

learn to use his voice efficiently. His dedicated effort taught him much about his voice and Husler

became a successful singer. As a young singer, Bruno Walter asked him to sing the title role in

Verdi’s Otello. Later, he became a member of the Kroll Opera where he had the opportunity to

work with the conductor Otto Klemperer.

Husler’s teaching career began early. Already in his twenties, he had much success as a voice

teacher in Munich. In 1922, Husler moved to Berlin, where he became head of the Stern’sche

Konservatorium and later, from 1936-1939, was in charge of the Konservatorium

Reichsthauptstadt Berlin. In 1946, he helped found the Musikhochschule in Detmold, where he

served as professor from 1946-1961. In 1961, he opened a private school for singing with Yvonne

Rodd-Marling in Lugano, Switzerland.

Well respected as a pedagogue, conductors such as Furtwängler, von Karajan, and Sargent,

consulted with Husler about singing. His books on vocal pedagogy were widely read and

regarded throughout the German speaking countries. He taught more than sixty students who

357. Ron Murdock, "Prof Frederick Husler," Cursa Ur. Last modified 2015, Accessed June 12,
2015, http://www.cursa-ur.com/husler.html.

121
 122

went on to have their own successful professional careers. Among them were Hannelore Bode,

Dieter Behlendorf, Elfie Mayerhofer, Werner Hollweg, Hans Kaart, Robert Titze, Fausto Tenzi,

and Gudrun Ebel.

Place in History

Husler established himself through his writings as a widely known and recognized pedagogue

in Germany. His book, Singen:die physische Natur des Stimmorganes, was very influential in the

German speaking countries and was one of the first writings to integrate vocal science into the

teaching of singing.

Aim of Husler's Treatise

Husler presented his ideas for teaching voice through scientific arguments based on the

physiology of the human body.

Structure of Singen: die physische Natur des Stimmorganes

Husler broke down the singing process in two ways: 1) a discussion of anatomy and

physiology and its effect on the singing process (i.e., resonation, registration, respiration, and

phonation), and 2) review of other aspects important to singers and the singing process. Specific

topics discussed in the book include:

 The unity of voice production;

 Anatomy and physiology;

 Aspects of phonation;

 Registration;

 Resonation (placement);

 Musicality;

 Singing and speech;

 Vocal health;

 Voice training.
 123

Respiration

Husler focused on the physiology and mechanics of respiration, in particular the connection

between the larynx, muscles of the ribs and diaphragm, and the lower back. His descriptions of

correct respiration were clearly linked to what was known at the time about the science of the

body.

Low Larynx and Respiration

Husler believed the larynx should be in a comfortably low position for singing and the way to

find the position was through proper respiration. The connection between the larynx and muscles

of respiration was the most important aspect in finding this position because it created a

comfortable low larynx position as opposed to a fabricated depressed laryngeal position of other

methods. This position, Husler noted, was one of the most important factors in determining the

quality of the tone.358

Process of the Breath

Husler believed two elements were essential to the breathing process. These were expansion

of the ribs combined with a counter-movement of the diaphragm, and a sensation of lower back

breathing.

Rib Expansion and Diaphragm

Rib expansion combined with a counter-movement of the diaphragm were necessary features

for most favorable singing. In Husler’s view, the diaphragm served as the counterweight to rib

cage expansion. He described the two opposing forces of the ribs and diaphragm as creating a

balance allowing the singer to control and release air as needed.359 Husler suggested the key

factor to singing well was to keep a continuous expansion of the rib cage. He stressed the greatest

singers kept this position while singing, never seeming to take a breath.360

358. Husler and Rodd-Marling, Singing, 31.

359. Ibid., 36.
360. Ibid., 34.
 124

Lower Back Breathing

Husler thought the proper breath should be felt in the lower back because the strongest

muscles of the diaphragm are connected to both the thorax and the inner side of the lower back.

This physiological relationship was in line with his rationale that a singer should breathe into the

lower back, a concept often expressed by the world’s greatest singers.361

Simplification of the Breath Process

Husler believed his peers in Germany placed too much emphasis on physical engagement of

the breathing muscles. He also felt the majority of professional singers were too focused on

taking a good breath, saying this over-contraction caused stiffness in muscles of the abdomen and

the flanks. Consequently, this tension did not allow the muscles of inspiration to work to their full

ability.362

Rather than a feeling of immobility in the abdomen, Husler thought the singer should release

the respiratory muscles, allowing the muscles to work together in a natural coordination. He

believed this functional unity was much simpler and more primal, seeing it as having less to do

with “supporting” the voice but closer to a primal cry.363

Faulty Breathing Methods364

Husler listed several breathing methods he believed were incorrect and limited the singer.

 Fixing the flanks causes immobility of the breathing muscles, resulting in a throaty
sound;

 Permanent contraction of the diaphragm, often combined with abdominal tension,

weakens the muscles of the larynx;

 Diaphragmatic pressure using the breath to press the dome of the diaphragm, resulting in
diaphragmatic immobility;

361. Ibid., 35.

362. Ibid., 37.
363. Ibid., 40.
364. Ibid., 44-45.
 125

 Forced deep breathing immobilizing the abdominal wall connection to the pubic bone,
creating a suction effect and drawing the diaphragm to extreme depths resulting in lack of
high notes;

 Congesting method (Stauprinzip), typical of non-Latin schools, capturing air with a tense
upper body and damming it against the vocal folds resulting in “chesty” voices;

 Pressing or acts of displaying pure vocal power.

Principles of Breathing365

Husler emphasized nine key principles the singer should remember about breathing.

 Avoid any systems of breathing (systems that go against the nature of the human body);

 Do not overfill the lungs;

 Overfilling the lungs will result in weakening of the respiratory system;

 Breath should be small, thorough and intensive;

 Vocal folds are capable of vibrating by themselves; the breath organ is not the motor;

 Breath should not be taken in deliberately and the singer should aim at breathing out;

 Breath exercises without phonation are not beneficial;

 The properly functioning larynx is regulated by the breath;

 Systems that try to improve breathing are always incorrect.

Husler’s views on respiration correspond to diaphragmatic-costal breathing. For example, he

stressed the importance of a continually expanded rib cage, the opposing force of the ribs and

diaphragm, and lower back expansion. A surprising point in his discussion, however, was his

view of the role breath played in phonation. He believed that breath was not involved in the

vibration of the vocal folds, considering it to be “simply the element that carries and forms the

sound.”366 Furthermore, he was convinced the voice was not a wind instrument. He stated:

Learn, therefore, to distinguish clearly between the breathing organ and breath.
Remember that the old concept, of the pressure of breath as the motive power in
giving voice, has been disproved by modern science. The singing mechanism is not a

365. Ibid., 50-51.

366. Ibid., 55.
 126

wind instrument. Remember instead that “the vocal folds are capable of vibrating
independently of the current of breath.”367

His views reflecting the neurochronaxic theory of phonation (see phonation section for

further discussion) were incorrect. The current view promulgated by voice scientists, such

as Ingo Titze, is the myoelastic-aerodynamic theory in which the vocal folds approximate

to the thought of a pitch and are fully adducted by the breath passing between them

(Bernoulli effect).368 The conclusion therefore is that the voice is in fact a wind instrument.

Resonation

Husler’s most notable teaching contribution was the method he used to teach resonation.

Husler believed the way the voice could best be adjusted was by placing attention at placement

points. He noted resonance changes always corresponded with muscular movement and these

movements could be adjusted by focusing on sympathetic resonance.369,370 He stated “the most

promising possibilities to unlock the voice successfully lie, indeed in this practice of “placing,”

and the singer and teacher should rely upon it".371

Figure 11.1. below illustrates the process and technique Husler thought teachers and students

should use to correct vocal problems. For example, if the student were singing with a shallow,

thin, or narrow sound caused by a high larynx, the student should practice placing the sound at

point no. 4 and 6. If the sound happened to be “throaty,” the student should place the sound at

point no. 2, but also at points no. 3a and 3b could be practiced.

367. Ibid., 51.

368. Titze and Alipour, The Myoelastic Aerodynamic Theory of Phonation, 81.
369. Husler and Rodd-Marling, Singing, 29.
370. Ibid., 69.
371. Ibid., 72.
 127

Figure 11.1. Sympathetic Resonance Placement Points to Correct Vocal Faults

Husler’s views on sympathetic resonance as the best source to correct vocal faults are

problematic. While placement plays a major role in voice training, Husler’s overemphasis on

placement could result in tension. This is due to the fact that good placement is the result of a

well-coordinated voice, rather than the converse.

While sympathetic resonance sensations can serve as valuable feedback tool, if one attempts

to make or place a tone, it can often result in holding or tension. A more effective route would be

to develop the proper conditions (etc. proper breathing, onsets etc.) and be aware of these

beneficial sympathetic vibrations. They are a byproduct of a well-coordinated voice that functions

as a unit. Regarding this, Oren Brown best captures the importance of this point:

The resonance sensations are by-products of the correct function in other areas and are
not prime objectives in themselves. When resonance is properly developed, you have the
sensation that all the vowel sounds emanate from some area in the middle of your head,
perhaps just behind the soft palate. These sensations can be a guide for producing voice
but should not be sought out for themselves in early study…such an endeavor would be
putting the cart before the horse.372

372. Brown, Discover Your Voice, 81.

 128

Phonation

Husler took issue with the prevailing views as to how phonation occurred. He aligned himself

with Neurochronaxic Theory (now disproved). He also addressed the principles associated with

forward vowels and their connection to vocal fold adduction. Again, he based his ideas on his

understanding of the physiology of the voice.

Neurochronaxic Theory

Husler’s views on phonation corresponded more closely with the (now refuted)

Neurochronaxic Theory of voice production (muscles of the larynx are solely involved in

phonation) as compared to the presently accepted view of the Myoelastic Aerodynamic Theory

(the vocal folds approximate and are fully adducted by the movement of the breath through the

Bernoulli effect). He stated,

It is more likely that the vocal folds produce a rhythmic oscillatory movement, partly brought
about by the muscles imbedded in them, and partly by the passive tension between them".373
Further, “It is not the outflowing breath that sets the vocal folds vibrating; breath is simply
the element that carries and forms the sound.”374

Forward Vowels and Vocal Fold Adduction

Husler believed forward vowels (e.g. [i], and [e]) and the “nasal resonance” they created had

a direct connection with vocal fold adduction. Through these vowels the singer was capable of

achieving full adduction without thickness or heaviness. In sum, this maneuver allowed ideal

phonation to occur without undue tension.375

Glottal Attack

Husler saw the glottal attack as being the most harmful type of onset even though famous

teachers and singers such as Garcia II, Duprez, and Viadort supposedly adhered to this concept.

Husler argued the type of onset Garcia taught was likely not faulty; rather, it was in fact a

373. Husler and Rodd-Marling, Singing, 54.

374. Ibid., 55.
375. Ibid., 66.
 129

balanced coordinated onset similar to sung staccato. He noted an actual glottal attack was

harmful, and especially so for non-singers or beginning singers. Husler said this type of onset was

unhealthy as the vocal folds were made immobile by sub-glottal air pressure.376 He also

emphasized the low laryngeal position would lessen the effect of any faulty onset – breathy or

hard (glottal).

Husler’s belief the neurochronaxic theory governed phonation was inaccurate. This theory,

developed by the phoniatrist Raoul Husson during the 1950’s, postulated that the vocal folds were

set into motion by a nerve impulse from the brain.

The neurochronaxic theory has now been disproved. While the scientific view of the voice

continues to evolve, it is important to note Husler posthumously was still associated with these

claims that the vocal folds were self-vibrating as late as 1976 (restated in future editions of this

book published by his colleague Yvonne Rodd-Marling). This persistent view is problematic

since this theory was largely discredited as early as 1967.377

Registration

One Register Approach

Husler believed singers and teachers of singers should approach the voice as having only one

register. In his view, working with the voice as if it had separate registers would only create a

disjunctive voice consisting of only notably separate registers.378 He claimed that naturally gifted

singers never experienced such shifts. Husler did see registration as more of a balance between

the muscles typically associated with chest voice, the thyroarytenoid, and the muscles associated

with head voice, the cricothyroid.379

Falsetto

Husler thought falsetto played an important role in coordinating registers. If falsetto was

376. Ibid., 75.

377. Vennard, Singing, 57
378. Husler and Rodd-Marling, Singing, 58.
379. Ibid., 57.
 130

missing, the voice could not be fully developed. He noted:

The entire complex of the vocal folds has to be properly stiffened before the fibers of this
inner muscle [vocalis] are able to operate to full capacity… Pathology tells us that failure
of the M. Cricro-thyreodieus [cricothyroid] through disease results in a deep, raucous
voice with lack of high notes.

He continued:

If the vocal lip [vocalis] is forced to act entirely on its own [without the cricothyroid
muscle], it means that the vibratory mechanism that constitutes the organ of singing does
not exist.380

Husler saw two different types of falsetto - a collapsed falsetto (an unusable sound) and a

supported falsetto.381 The supported falsetto was very beneficial to the singer because in this

adjustment the glottis was fully closed and the sound had a “core” of resonance. This quality was

characteristic of all great voices.

Husler believed the voice should be balanced with this falsetto mechanism. As a result of this

strengthening, the voice would be capable of an even sound in all dynamics and ranges.382 When

practicing this register adjustment, he recommended the singer begin with the collapsed falsetto

tone. Through intensification of the respiratory muscles, the singer would strengthen the falsetto

mechanism.383

Husler only commented on laryngeal registration with no mention of vowel modification. His

main point, as with other authors, was the importance of falsetto. He recommended developing

this range by beginning with the “collapsed falsetto” and then refining it into “supported falsetto.”

Strengthening the musculature of the larynx and connecting it with diaphragmatic-costal

breathing is a useful approach from which the upper register can be developed and the various

registers of the voice unified. Thus, it was likely valuable for his students.

380. Ibid., 63.

381. Ibid., 59.
382. Ibid., 63.
383. Ibid., 66.
 131

Other Important Aspects

Gestalt Principle

Husler 's use of physiological principles were fundamental to his view for teaching singing.

He felt the process of good singing was a result of all parts of the vocal process working together

(i.e. respiration, resonation, registration, phonation). He thought, while it was important to

understand how individual elements of the voice functioned, it was more important for the singer

and teacher to understand the wholeness of the vocal mechanism working together to produce

vocal tone as a sum of all parts.384

Summary of Husler’s Treatise

1) Place in History

 Husler was a well-respected pedagogue whose ideas were disseminated across

Germany and the rest of the world through his writing and teaching of students.

2) Respiration

 There is a counterbalance produced between rib expansion and the diaphragmatic

engagement.

 A good breath should be felt in the lower back where the strongest muscles of the
diaphragm are connected.

 The breath process should be simplified and should involve minimal muscular
contraction.

 There are six faulty breathing methods:

 Fixing the flanks;
 Permanent contraction of the diaphragm;
 Diaphragmatic pressure;
 Forced deep breathing;
 Congesting method (Stauprinzip);
 Pressing.

 There are nine principles of breathing:

 Avoid any systems of breathing;
 Do not overfill the lungs;
 Overfilling the lungs will result in a weakening of the respiratory system;
 Breath should be small, thorough, and intensive;

384. Ibid., 12.

 132

 Vocal folds are capable of vibrating by themselves; the breath organ is not the
motor;
 Breath should not be taken in deliberately and the singer should aim at breathing
out;
 Breath exercises without phonation are not beneficial;
 A properly functioning larynx is regulated by the breath;
 Systems that try to improve breathing are always incorrect.

3) Resonation

 Placing a tone at different placement points is the best method to correct faults in singing.

4) Phonation

 Husler's views of phonation correspond the Neurochronaxic Theory of voice production.

 Forward vowels assist in achieving a healthy adduction.

 The glottal attack is harmful, particularly for the lay person or beginning singer.

5) Registration

 Singers and teachers should approach registration from a one-register view.

 Falsetto is instrumental in building a healthy, balanced voice.

6) Other Important Aspects

 Good voice production is not dependent upon individual muscles, but is rather a sum of
its parts.
 Chapter 12: RICHARD MILLER (1926-2009)
National Schools of Singing (1977)

American author and pedagogue Richard Miller has been the main source of information on

different national approaches to singing for English speaking pedagogues, singers, and students

over the last fifty years. Written in his native English, this book presents the standard, prevailing

view English speakers have of the modern German school of singing, detailing national trends in

German pedagogical principles. His work is based on both his observations of teachers of singing

as well as his analysis of the writings of vocal scholars.

A discussion of Richard Miller's work is added to this review because his observations further

explicate the German approach to singing. Miller's English language summary is critical to fully

understanding the topic of the Germanic approach. Published in 1977, it provides a comparison to

native speaking German authors from fifty to more than one hundred years earlier. His analysis

gives American and other English speaking audiences yet another option to decide about

"correct" teaching techniques from Miller's perspective as compared to original German writings

presented here.

General Concepts

Richard Miller noted in his text that many German teachers and authors adhered to the idea of

Stimmbildung (voice cultivation). He described this approach as a mechanical adjustment of the

voice as if it were a machine, in which the voice must be taken apart and rebuilt. He suggested

this mechanical approach was the explanation for the number of diverse theories and techniques

of singing generated by German pedagogues during the nineteenth and twentieth centuries.385

While none of the authors in this review used the word "Stimmbildung,” three authors

(Müller-Brunow, Armin, and Bruns) adhered to this approach, calling it instead Tonbildung. This

385. Miller, National Schools of Singing, 67.

133
 134

physiological-mechanical approach to singing was a break from the methods of the past. Namely,

the focus was often placed on a single individual aspect and less so on practical methods such as

agility or the messa di voce.

For example, Müller-Brunow believed the voice could only be unified through a speech-

based method of the correct vowels and consonants. However, unlike Hey, he detached his

approach from actual speech, focusing only on syllabic exercises with phrases such as [bø, by, bo,

ba]. Bruns too thought all aspects of singing could be solved through his Minimalluft approach, in

which residual air volume and relaxation of the breathing muscles allowed the body to function

properly. Armin, on the other hand, believed all aspects had to be developed through vocal

damming (Stauprinzip). Further, Armin’s views of the voice in its natural state was that it was

inadequate and needed to be dismembered and later reconstructed, validating Miller’s general

observation of a mechanical German approach.

Phonation

Onset386

Miller observed the breathy onset as the preferred method of German vocal pedagogues. This

may surprise many in the English speaking singing world since the commonly held view was the

glottal attack was preferred. This assumption was likely due to the hard nature of the German

language. Miller noted Germans actually associated the hard attack with the Italian school of

singing through its connection with Garcia II (coup de glotte). In other types of onsets, in

particular the balanced and the hard attack, Miller commented that the balanced attack

(Stelleinsatz) was rarely prescribed in Germany and the hard attack originated from those

adhering to the Stauprinzip.

In contrast to Miller, no author reviewed in this document advocated a breathy onset.

Nevertheless, nearly all of authors disapproved of the hard glottal attack, affirming some of

386. Ibid., 4-5.

 135

Miller’s observations. The way authors corrected the onset, however, points to a Germanic trend

in overcoming the glottal attack - the combination of an onset with a consonant. Six authors

prescribed this method (Müller-Brunow, Armin, Bruns, Hey, Martienßen-Lohmann, and

Schmitt). In contrast, Mannstein, Sieber, and Husler reflected an Italian model of a balanced

attack beginning with a vowel. In total, all authors promoted a balanced onset, or as Miller termed

it, the Stelleinsatz.

Laryngeal Position

Miller pointed out German teachers preferred a low laryngeal position often taken to

extremes.387 He suggested this position was frequently combined with the enlargement of the

pharyngeal space in attempt to achieve better resonation.

Nearly all the German treatises Miller reviewed placed importance on a low laryngeal

position. The majority, however, cautioned against over-depressing the larynx. There were two

exceptions - Armin’s Stauprinzip advocated a fabricated low laryngeal position confirming

Miller's observation and Schmitt’s Grosse Gesangschule, which supported a high laryngeal

position.388

Respiration

Miller noted that, while there are many useful German techniques in breathing (e.g., lower

dorsal expansion), the method termed Bauchaussenstütze (distended belly support) was

particularly emphasized in German teaching. Miller described this approach in a three-step

sequence - the singer exerts outward pressure with the abdominal muscles, tightens the buttocks,

and attempts to engage the back muscles. He suggested this muscular tension does not allow the

diaphragm to function properly because it retards its upward movement.389

Armin’s Stauprinzip directly corresponds to observations Miller made about German

387. Ibid., 86.

388. Schmitt, Grosse Gesangschule für Deutschland, 15.
389. Miller, National Schools of Singing, 21-22.
 136

respiration for singing. The Stauprinzip called for an intense muscular expansion of the lower

body. At the start of the breath, expansion was to be felt in the chest but would move lower as the

singer’s training progressed.390 Overall, the tension of the lower body was intended to result in the

absolute relaxation of the larynx.

In contrast to Richard Miller’s observation of a “pushing out” of the abdominal muscles,

three other authors, Schmitt, Mannstein, and Sieber, advocated the lower abdominal muscles be

“pulled in” during phonation. It is unclear if these three teachers were recommending a slight

contraction to assist in maintaining the expansion of the rib cage or if they were actively seeking

muscular support from the abdominal muscles. It may be the case, however, that these

instructions (pulling in) led to Miller’s conclusions about muscular tension in the abdominal

region.

Resonation

Miller made three observations related to resonation in the German school:

 Equalization of vowel sounds - German teachers advocated avoidance of vowels on the

high end the vowel spectrum (i.e. [i] and [e]). This was achieved through buccal rounding
(i.e. avoidance of the “horizontal smile” position), and through the use of mixed vowels,
e.g., [ø].

 Alteration of the pharynx - German teachers espoused the idea that a widened pharyngeal
position (“room in the throat”) produces a full, richer sound.

 Posterior singing - German teachers recommended an approach called Nach-hinten-

Singens (sing towards the rear), viewing this as the optimal way to “open the throat.”391

In contrast to Miller’s observations, seven of the nine works reviewed here did not advocate

for diminishing high spectrum vowels. Rather only Armin and Müller-Brunow viewed

modification to a darker vowel as crucial to achieving a balanced tone. These two authors

believed all vowels were to be developed from mixed vowels, namely [ø] or [œ].392 In fact, in

direct correlation with Miller’s observations, Armin and Miller used the same terminology in

390. Armin, Das Stauprinzip, 20.

391. Miller, National Schools of Singing, 67-69.
392. Müller-Brunow still believed the nasal quality was important in the singing process.
 137

describing this method of resonance balancing, Rundung (rounding).

Registration

Miller observed a technique called Deckung being taught in German pedagogical circles.

This was a technique used in an attempt to balance registers. Miller described Deckung as “the

alteration of the vowel through active depression of the larynx and pharyngeal enlargement. The

intensity of the vocalis muscle intensifies through the contraction of the muscles of the torso and

neck.”393 Miller commented this technique was foreign to ideal Italian chiuso singing, in which

the register was blended through proper muscle balancing and vowel blending.394

Again, the majority of techniques discussed in earlier chapters of this review discouraged the

use of such a manipulative approach as Deckung. While individual approaches differed, most

authors advocated for a moderate approach to registration. For example, Schmitt focused on the

use of nasal resonance or nasality in accessing the upper range. Sieber and Mannstein approached

registration through a balance of the head-chest mechanism while Martieneßen-Lohmann and

Hey recommended vowel modification.

Yet, one author, Armin, is congruent with Miller’s observations of a Deckung. Armin

believed the head and chest registers should not lose their individual qualities (what he called

Ausgleich) and criticized the common practice of register fusion (Verschmelzung) that created the

sense all registers were unified. In addition, Armin advocated for strong use of vowel

modification emphasizing a darker tonal preference (i.e. a movement away from high partial

vowels). While Armin did not mention Deckung, his recommendations suggest a similar tactic.

Relevance of Richard Miller's Writing

Richard Miller’s National Schools of Singing provides a useful resource for English speaking

teachers and singers. Because of his meticulous observations, Miller was able to authentically

describe German methods used to teach singers in the modern age. Miller's work, written well

393. Miller, National Schools of Singing, 134-135.

394. Ibid.
 138

after many important German treatises were published, offers important observational data

detailing the German approach to teaching singing. His English synopsis of German style adds to

the working dialogue about what in fact is true German technique.

 Chapter 13: SUMMARY OF OTHER KEY TREATISES

German authors included in this review were selected using five criteria: (1) their place in

history as they contributed to the German singing tradition, (2) the lack of knowledge of their

methods in the English speaking world (3) their discourse with their contemporaries about

"correct" technique, (4) the chronology of the development of the German technique spanning the

time of 1848-1965, and (5) success of their individual methods to develop singers.

Additional German pedagogues contributed to the understanding of German technique but are

well known to English audiences through English language translations of their writings.

Consequently, a comprehensive review of the German school of singing would be incomplete if

these particular pedagogues were omitted. These authors, contemporaries of German pedagogues

reviewed here, not only influenced the evolution of the German approach to singing but to this

day maintain an important presence in the German pedagogical literature.

Because the focus and scope of this review is to only consider writings of German

pedagogues not readily available in English translations, four German authors whose views are

available and easily accessed in English versions are summarized below from secondary sources.

Two of these authors, Mathilde de Castrone Marchesi and Julius Stockhausen, were writing at the

same time as Hey, Sieber, Müller-Brunow, and Schmitt, between 1854 and 1890. Two additional

authors, Lilli Lehmann and Johannes Messchaert, both of whom were singing and writing in the

late nineteenth and early twentieth-centuries were contemporaries of Armin and Bruns.

Mathilde de Castrone Marchesi (Graumann) (1821-1913)395

Mathilde Marchesi was a student of Manuel Garcia II, and she, like her teacher became a

renowned teacher of singing earning professorships in Vienna and Cologne. Garcia was so taken

with Marchesi’s teaching ability that he entrusted her with his students when he was ill. Like her

395. Ank Reinders and Heinz Kimmerle, Atlas der Gesangkunst (Kassel: Bärenreiter, 1997), 176-
178.

139
 140

teacher, Marchesi too became well known as an author of singing manuals, particularly those

addressing technical exercises.

Principles of Marchesi’s Technique396

 General Concerns - Marchesi believed all teachers of singing should have a thorough
grounding in anatomy, physiology, and acoustics and their effect on voice production. Marchesi's
position was that no national schools of singing existed (German, French, or Italian) but instead
there was only one universal and correct method.

 Respiration - Marchesi advocated diaphragmatic-costal breathing occurring when the

chest expands and the diaphragm descends. In her opinion, all other methods were incorrect
because they did not allow for full expansion of the lungs. She advised against wearing corsets
when singing (a recommendation of many teachers to aid in feeling expansion) because she
thought the singer would breath too laterally.

 Phonation - Following the practices of her teacher Garcia, Marchesi promoted the coup
de glotte (stroke of the glottis). In the view of many singing scholars, this technique was a firm
balanced attack rather than an actual glottal attack.397 This onset was prepared through a mouth
position of an [a] vowel. Marchesi compared the onset to primal sounds, like the “crying of a
baby.”

 Registers - Marchesi suggested, as did others, there were three different registers - chest,
middle, and head. In her view, the chest was to be fused with head voice and the laryngeal
position was to remain the same for all registers
.
 Diction - Diction, in Marchesi's view, was to be clear but also should not disturb the
vocal line. She instructed students to practice consonants alone, which would then improve
function when singing.

 Stylistic Traits - If a singer practiced "unmusically" the session was of no value.

Stylistically, she was rigid, seeing either good style or bad style with nothing in between.

Julius Stockhausen (1826-1906)

Julius Stockhausen was a well-recognized singer and vocal pedagogue, who was particularly

regarded for his interpretations of German Lieder. Like Marchesi, Stockhausen was a student of

Garcia II and was significantly influenced by Garcia's techniques. He continued Garcia's tradition

of investigating the scientific aspects of singing, particularly in relation to his own assumptions

on acoustics and how they related to the voice. 398

396. Ibid., 176-178.

397. Miller, National Schools of Singing, 2.
398. Coffin, Historical Vocal Pedagogy Classics, 37-42; Reinders and Kimmerle, Atlas der
Gesangkunst, 181-185.
 141

Principles of Stockhausen’s Technique

 General Concerns - Stockhausen believed there were three aspects of singing:

 Pitch, created by vibrations in the larynx;

 Power, the creation of amplitude through the power of the lungs;

 Quality, determined by the shape of the vocal tract.399

Stockhausen viewed quality as one of the most important aspects to develop, noting that power

was relative.400

 Respiration - Stockhausen wrote little about respiration in his treatise. His main point was
that diaphragmatic breathing was the correct method and the expansion of the ribs was essential
to good breathing.

 Phonation - Stockhausen in the tradition of Garcia promoted the idea of the coup de
glotte. He placed much importance on a low laryngeal position in singing and thought the resting
larynx position was not adequate, since this high position did not allow for a full round tone.

 Resonation - He believed the Italian idea of the smiling mouth position was outdated.
Instead he recommended the lips be drawn back when singing the vowels [o, u, ø, y] and the lips
should extend forward when singing the vowels [i, and e]. He also supported the idea that vowels
played an important part in a balanced vocal tone. The open vowels [a, ɑ, ɛ, ʊ, ɔ, ʏ, and ɪ) assisted
in strengthening resonance of a weak voice, while the closed vowels [e, ø, o, u, and y] helped
with mellowing in a shrill voice.401 Stockhausen thought consonants and vowels had to be
fused402 and the more the articulators were used, the less amount of tension was created in the
larynx.403

 Registration - Stockhausen agreed with others that there were three registers comprised
of a series of tones utilizing the same mechanism (i.e. chest or head voice).404 He thought in chest
voice, the full vocal folds vibrated while in head voice, only two-thirds of the mass vibrated.405
Vowel modification, according to Stockhausen, was important in balancing registers. For
example, he observed a similar region in all voices from d-f# at which audible breaks were heard.
He felt the method to adjust these breaks was to close the vowel in ascending scales and to open
the vowel when descending.

399. Coffin, Historical Vocal Pedagogy Classics, 38; Reinders and Kimmerle, Atlas der
Gesangkunst, 181.
400. Coffin, Historical Vocal Pedagogy Classics, 38.
401. Ibid., 39.
402. Reinders and Kimmerle, Atlas der Gesangkunst, 181-185.
403. Ibid., 185.
404. Ibid., 181-185.
405. Ibid., 181-182.
 142

Lilli Lehmann (1848-1913)406

Lilli Lehman was one of the most famous singers in her time, singing over forty roles from

light coloratura roles to Wagner. She sang in the most important houses in the world - Covent

Garden, the Metropolitan Opera, and Bayreuth - and shared the stage during her career with other

very well-known singers including Jean de Reske and Nellie Melba. In addition to her singing,

Lehmann was recognized for her teaching and her text titled Meine Gesangkunst (My singing Art,

published in English as How to Sing) (1902). In her singing manual, Lehmann attempted to

combine the language of imagery for singers (dark, bright, forward) with science.407 Her ideas

inspired both her contemporaries and future generations of singers.

Principles of Lehmann’s Technique408

 Respiration - Lehmann believed one of the most important elements for a proper breath
was a raised chest. In this posture, the upper ribs expanded and the lower ribs supported the voice
acting like columns. From this position, the singer was to press the breath against the walls of the
chest using as little breath as possible. The position of expansion was to remain throughout the
singing process and was only to relax when the last tone was sung.409

 Resonation - The result of a good tone, Lehmann said, was to be felt in the resonance
cavities of the head. Importantly, breath and tone were to meet at the resonance point of the soft
palate. Pitches in head voice were to be felt outside of the head. Lehmann emphasized correct
tongue position. She felt resonance could be adjusted through vowels. For example, a brighter
sound could be obtained by using the [i and e] vowels while the vowels [o and u] could make the
tone naturally darker. According to Lehmann, the [e] vowel was superior for finding the
resonance cavities. The tongue position for all vowels was to have a slight arch, like that of the [i
or e] vowel. This created the conditions for ideal resonance, as the back of the tongue was the
point where breath and tone were dispersed.410

 Registration - Lehmann felt the prevailing view of the voice consisting of different
registers was incorrect. Instead she thought the singer and teacher should approach the voice as
having one register. However, she noted in the untrained singer, the voice would have three
registers - chest, middle, and head voice or falsetto. These registers corresponded to a group of
notes created by a certain position of the larynx, tongue, and soft palate. The strength of the
register depended upon how much a register was used in daily speech.411

406. Reinders and Kimmerle, Atlas der Gesangkunst, 189-194.

407. Coffin, Historical Vocal Pedagogy Classics, 112-113.
408. Reinders and Kimmerle, Atlas der Gesangkunst, 189-194.
409. Ibid., 191.
410. Ibid.
411. Ibid., 192.
 143

Johannes Messchaert (1857-1922)412

Johannes Messchaert was a Dutch baritone who was well-known as a Lieder singer. He was a

student of Julius Stockhausen, and, like his teacher, became famous for his teaching of singing

across Europe. One of Messchaert “most recognized” students was Franziska Martienßen-

Lohmann.

Principles of Messchaert’s Technique

 Respiration - Messchaert believed posture affected breath production. He recommended

having a raised chest position, a tightened, pulled-in stomach, and the singer's weight dispersed
backwards. This chest position was to be fixed throughout the singing process. During phonation,
Messchaert taught the breath should be expelled slowly with the diaphragm gradually returning to
its resting position.

 Phonation - Messchaert felt imagining the tone before it was sung was critical to
successful phonation. Onset was not to come from below and no sound was to be heard prior to
the onset.

 Resonance - Messachaert believed vowels would modify throughout the scale; however,
every sung vowel had to be intelligible on every pitch. He also noted, when singing in head voice,
the tone had to be placed very forward.

 Registration - Messachaert felt strongly that chest voice should not be taken too high and
every tone should have the ability to swell on every pitch. In his approach, vowel modification
was an important part of registration. 413

Comparison of Pedagogues' Views on Main Points Related to German Technique

In general, several key principles for teaching the German technique stood out among all

authors. These include diaphragmatic breathing, importance of a low laryngeal position,

recommendation of a balanced onset, and chiaroscuro vs. a dark tonal concept.

Respiration

 Several of the authors advocated for diaphragmatic-costal breathing (Bruns, Martienßen-

Lohmann, Sieber, Husler, Marchesi, Stockhausen, Lehmann, and Messchaert). In

contrast, Schmitt and Armin argued for an approach that combined more muscular

412. Ibid., 193-194.

413. Ibid.
 144

tension, Mannstein promoted pancostal breathing, and Müller-Brunow’s and Hey’s

methods were to vague to make a clear distinction of the method they were promoting.

Phonation

 Balanced onset - All authors believed an onset should be balanced, however the way to

achieve this onset was individualized. Some saw the use of the consonant as necessary to

avoid a hard attack (Müller-Brunow, Hey, and Armin) while others promoted a precise

attack (Stockhausen, Marchesi, Messchaert, Sieber, Mannstein, and Schmitt).

 Low laryngeal position - As with onset, all authors noted the importance of a comfortable

low laryngeal position with the exception of Armin and Schmitt. Schmitt advocated a

high laryngeal position, especially in the upper register, while Armin recommended a

depressed laryngeal position.

Resonation

 Tonal preference - The majority of authors supported a brighter or a balanced tonal

preference (Schmitt, Mannstein, Bruns, Martienßen-Lohmann, Sieber, Husler, Marchesi,

Messchaert, and Lehmann). Three authors, however, emphasized a darker tonal

preference created through rounded vowels (Stockhausen, Müller-Brunow, and Armin).

Registration

 Three pedagogues presented in this final chapter (Lehmann, Marchesi, and Stockhausen)

and only one other from the main review (Martienßen-Lohmann) believed in the three

register approach. The remaining authors supported the idea of two registers, head and

chest voice.
 Chapter 14: A Definition of the German School of Singing

A musical movement of nationalism came about in Europe beginning early in the nineteenth

century and continued well into the twentieth century. European composers were interested in

creating a musical language and distinctive style reflective of their home countries. Composers

such as Bedřich Smetana from the Habsburg Empire (modern day Czech Republic) attempted to

depict images of his homeland in his symphonic poem Má vlast, while the Mighty Handful, a

group of Russian composers, incorporated peasant elements and whole-tone exoticism to produce

a characteristic Russian sound. In Germany this fervor was particularly evident in the works of

Wagner who was creating a new type of German opera, the Musikdrama, a genre that combined

the artistry of poetry with musical composition. His influence on the operatic medium in

Germany was unsurpassed.

While the impetus persisted in Germany to create a uniquely German style, Wagner's operas

were not entirely German in their musical roots. In fact, Wagner's style included stylistic

components from the French and Italian traditions. For example, in Der fliegende Holländer,

Wagner utilized the bel canto solita forma,414 clearly borrowing from the Italian tradition. But

German identity was important to Wagner, and he was able to successfully demonstrate Germanic

traits in his music through the use of Leitmotif, increased orchestration, a more elaborate

harmonic palate, and increased importance of the sung text.

Der fliegende Holländer raises an interesting question in German music: Is this work truly

"German"? While Der fliegende Holländer continues to be recognized as an example of pure

German opera, Wagner's work more correctly represents a merging of techniques, namely an

Italian structure with German modifications. Wagner’s use of both Italian and German styles

paralleled the development of a German method for singing that, like Wagner's approach,

414. Thomas S. Grey, Richard Wagner, Der fliegende Holländer (Cambridge, UK: Cambridge
University Press, 2000), 43-44.

145
 146

included essential Italian principles revised to suit German style and culture.

Another question comes up about the potential impact of other singing traditions. While there

is evidence of other national influences (notably French) in the German tradition, the basis for

singing in Germany lies in the Italian tradition. Germans found synergy with selected Italian

methods, generally adopting overarching Italian principles of the physiology of breathing,

blending of registers, and importance of balanced resonation. As German technique developed

during the nineteenth century and particularly later in the twentieth century, Some German

pedagogues either purposefully or unknowingly began to either clearly reject or exaggerate Italian

principles (referred to in this review as "German modifications") as each created their individual

singing method.

Early Italian Tradition

Insight into Italian technique is an important pre-requisite to understanding the evolution of

German style because of the profound influence of Italian methods on German ideas. The

technique of the Italian castrati was the most prominent method used in singing during the

eighteenth and early nineteenth centuries. These principles matured slowly in Italy beginning

with composers and singers of the Florentine Camerata, carrying through to seventeenth century

virtuosic singers of public Venetian theaters and finally to the castrati of the eighteenth century.

The repertoire of the castrati along with the later bel canto tradition required singers to

perform very demanding repertoires. For example, singers were regularly asked to sing long

sustained lines, manage rapid agility patterns, and cover extremes of range and register. A singer

needed a technique in which the voice functioned optimally to execute these difficult singing

requirements. The technical principles of the castrati met this demand, permitting singers to be

"masters of their voices" through the merging of beauty with optimal vocal function. Quite

simply, the technique of the castrati met the needs of their repertoire. In addition, it unlocked the

answer to full functionality of the voice.

 147

German Reaction

During the mid-nineteenth century, German pedagogues started to reject many of these Italian

principles, primarily because of Wagner's influence. Wagner attempted to create a much closer

relationship between word and tone in his Musikdrama, placing more importance on the

intertwining of music with text in his operatic compositions. Therefore, the size and importance

of the orchestra increased and the text was given more dramatic purpose. Furthermore, the

relationship between the two (orchestra and text) was fused, creating what Wagner called a

Gesamtkunstwerk (a complete art work, a merging of word and tone).

Because of Wagner's influence, German voice teachers began to develop a method that would

better fit the nature of the German language and respond to increased demands of the Wagnerian

orchestra. Namely, they wanted a technique that was more articulate and generated more power to

handle this new style of dramatic singing.

While German pedagogues hoped to separate themselves from Italian traditions and aimed to

develop a school based solely on German principles, they were unable to discard many Italian

elements. Because Italian technique was built on the physiology of optimal voice function,

German pedagogues found themselves incorporating these concepts into their own ideas, even if

they did so unknowingly. Italian basics of respiration, resonation, registration, and phonation had

to remain, albeit modified or altered to suit newer Germanic principles.

Consequently, a German method did not evolve as a standardized unified approach. Instead,

it is more accurate to say that a German school of singing included strong underpinnings of

Italian technical principles, which were modified and customized to fit the individual approaches

of German pedagogues. Within the German approach there was variation; some German

pedagogues relied more on Italian principles while others used Germanic style, and still others

created a mix of both Italian and German principles.

The One Idea Solution

One of the most significant modifications to the Italian style was the belief in a "one element"
 148

solution to correct all problems associated with poor function (Schmitt, Hey, Müller-Brunow,

Armin, Bruns, and Husler). In contrast, three writers, Mannstein, Sieber, and Martienßen-

Lohmann, adhered to a gestalt view, an Italianate approach in which no specific element was

more significant than any other. Rather, all parts function together in unison to create correct

coordination for singing.

Italian Roots

Gestalt Approach

The Italian tradition of singing placed importance on the unity of pedagogical elements

(respiration, resonation, registration, and phonation) in order to sing well; no one element could

be separated from another. The Italian idea of breath support, appoggio, demonstrates this unity.

Appoggio (to lean against) is more than a single idea of breath support; instead, appoggio

suggests a connection with the sympathetic resonance felt in the upper vocal tract, termed

imposto.415 Other examples of a gestalt synergism are seen in the balancing of resonance and

achieving even registration.416

German Modifications

Systematic Approach

Friedrich Schmitt’s treatise showed an extreme systematic approach to training singers. His

aim was to create a generic system that uniformly addressed the needs for every singer in the

same way. This regimented approach was in contrast to the Italian and French schools, which

Schmitt felt lacked organization.

His system consisted of a regulated program to properly train a student, beginning with what

he called "the construction and development of the voice as an instrument" (basics in breath,

resonance, intonation, connection and blending of registers, and beautification of the voice).

Students then progressed to tackle “the technical development of the voice as an instrument”

415. Miller, Structure of Singing, 61.

416. Doscher, The Functional Unity of the Singing Voice, xviii- xix.
 149

(addressing the application of the tone, connection of pitches with and without portamento,

agility, and the messa di voce). Finally, training concluded with “expressive aspects,” which dealt

with what he called material attributes (e.g. breath division, clear diction, musical accent) and

expressive characteristics (e.g. character portrayal, expression, good taste).417 In contrast, the

Italians worked with each student to correct his/her unique problems on an individual basis.

Sprechgesang

Wagner’s view that singer’s diction needed improvement led German pedagogues to respond

by developing techniques to meet his demands. One such method was created by Julius Hey. His

method placed clear articulation of text over vocal line, often referred to as Sprechgesang. He

called this new style of singing “German bel canto.” Hey's method was credited as being the most

fully developed for use in Wagner's work.

In addition to creating a speech-based approach to singing, Hey seemed to view acquisition of

the correct vowel and use of consonants, i.e. diction, as the solution to all problems in the singing

process. To achieve this correct coordination, all methods of correction were developed from a

basis of Sprechgesang. Hey's ideas were not unlike the Italian concept “si canta come si parla”

(sing as you speak). However, his emphasis on diction as a panacea to all voice issues

significantly exaggerated these Italian ideas.

Speech-Based Approach

The views of Müller-Brunow ushered in a new approach to teaching voice - Tonbildung. His

method was a mechanical-physiological approach to singing, as opposed to the purist singing

schools of the previous generation that incorporated extensive exercises such as agility and the

messa di voce. Müller-Brunow, like Hey, believed all solutions to the singing process could be

solved through speech-based methods. But unlike Hey, Müller-Brunow focused less on singing

repertoire, difficult agility exercises, and strayed from text recitation. Instead he simply

417. Schmitt, Grosse Gesangschule für Deutschland, 11.

 150

emphasized a mechanical syllabic based approach, centering on correct articulation of vowels and

consonants developed from what he called the primary tone.

Placement Points

Husler in many ways believed in a gestalt approach to singing, but to correct vocal problems,

he centered his method on placing the voice at different areas of the body. He believed that

through awareness of sympathetic resonance, vocal problems could best be corrected. For

example, if the singer had a “throaty” tone, he would be asked to place his voice at the bridge of

the nose or at the sternum in order to correct it. He saw this as the best way to adjust muscular

movement of the vocal apparatus. Therefore, Husler believed “the most promising possibilities to

unlock the voice successfully lie, indeed in this practice of “placing” and the singer and teacher

should rely upon it.”418

Stauprinzip

George Armin, dealing with what he called the duality of the voice (e.g. head vs. chest

register, breathy vs. hard onset) developed the method of Stauprinzip, or the “damming” of air

against the vocal folds. Armin's method suggested the voice be "torn apart" and rebuilt according

to his precepts. It was only through the Stauprinzip that the voice could "be rid of its dualistic

nature and brought into full development" - a rigid, singular, very German approach to solve all

vocal faults.

Minimalluft

Paul Bruns' approach to singing was also one-directional, focusing solely on his view of the

importance of Minimalluft (minimal air) in the singing process. Bruns’ ideas were contradictory

to those of Armin’s, suggesting all aspects of the singing process could be addressed through the

use of residual air volume and muscle relaxation. However, Armin’s and Bruns’ views were

similar in their oversimplification of the singing process in a one element solution.

418. Husler and Rodd-Marling, Singing, 72.

 151

Diction

Another refitting of Italian principles was greater emphasis on clear diction at the expense of

pure vocalism as advocated by Schmitt, Hey, Müller-Brunow, and Armin. In comparison, while

not diminishing the importance of diction, other authors (Mannstein, Sieber, Martienßen-

Lohmann, Bruns, and Husler) did not overemphasize the need for more enunciation in singing.

These authors instead encouraged a method of clear articulation without disturbance of the vocal

line.

Italian Roots

Unity of Vocal Line and Diction

Benefiting from the fluidity of their native language, the Italian school of singing placed

significant importance on legato in achieving a beautifully sung line. Several authors (Bruns,

Martienßen-Lohmann, Husler, Mannstein and Sieber) were most influenced by this Italian

approach and closely adhered to its principles. They saw the acquisition of good diction

developing from the gestalt process of the body. In their view, good diction was connected with

legato and was the result of a well-coordinated body in the singing process.

German Modifications

More Emphasis on Diction, The German Bel Canto

With the advent of the new form of German opera in the nineteenth century, pedagogues

including Schmitt, Hey, Müller-Brunow, and Armin believed a new approach to diction was

needed. They viewed text as being more closely intertwined with music and as a result, clear

articulation was essential to dramatic portrayal.

Three of these authors (Schmitt, Hey, and Armin) severely criticized the effect of the Italian

school on German singing. They viewed Italian bel canto principles as being foreign to the needs

of Germanic repertoire, thereby creating a more speech-based approach to singing. Here vocal

line was no longer the master of text. However, clearly sung text was not to destroy the vocal

line, but rather lessen the effect it had on vocalism. This new approach was labeled “German bel

canto” by Hey.
 152

Respiration

The Italian technique of diaphragmatic-costal breathing was recommended by some German

pedagogues (Sieber, Bruns, Martienßen-Lohmann, and Husler). The clearest exception to this

method was Mannstein who promoted pancostal breathing. In addition, while endorsing many

elements of diaphragmatic-costal breathing, in particular expansion of the rib cage and emphasis

on low breath (implying abdominal expansion), Schmitt and Armin suggested a much more

muscular approach to breathing combined with an overcrowding of the lungs - a clear

exaggeration of Italian principles in order to fit their Germanic aesthetic. Unfortunately, several

authors’ views were unclear. Hey’s and Müller-Brunow’s descriptions were so vague that it is

impossible to infer the method they recommended.

Italian Roots

The German approach to respiration advocated by most German pedagogues was clearly

rooted in Italian principles. These attributes include diaphragmatic-costal breathing, avoidance of

unnecessary tension of the lower body, and adherence to the principles of appoggio. Appoggio is

the technique in which the breath process is not viewed as separate but instead connected to other

aspects of the singing process. For example, Italians made the connection between resonation and

respiration (imposto). Sieber, Brun Martienßen-Lohmann, and Husler clearly advocated this

method.

Silent Inhalation

Mannstein and Sieber spoke of the importance of silent inhalation, a key element of Italian

technical approach.

Germanic Additions

Pancostal Breathing

Mannstein, like the young Lilli Lehmann, believed the most effective way to breathe for

singing was to pull the abdominal muscles in firmly upon inhalation. As noted in Chapter 3, this

approach was suggested in the belief that the tightened abdominal muscles aid the diaphragm in
 153

propping up the rib cage.419 This method, however, is not the most efficient approach for singing

and contrasts with the Italian tradition.

Overexpansion

When discussing respiration in relation to singing, George Armin and Friedrich Schmitt

endorsed a technique of increased muscular tension of the lower body and rib cage. Like the

Italians, Armin and Schmitt supported an expansion of the thorax. However, their approach was

extreme, being much more muscular than the Italian elastic approach. They believed that through

this muscular expansion, the larynx would be relieved of tension.

In addition, Armin and Schmitt both felt extreme dilation of the lungs (to full capacity) was

important in respiration for singing. Schmitt stated that if the singer felt he was not full from the

initial breath, he should take two or three additional breaths until he felt a position of total

expansion.420 Armin expressed this tension as first being felt in the chest and then moving down

into the lower body.421 These two techniques deviated from mainstream thought of other German

authors who were consistent with the Italian approach that less air was more efficient.

Resonation

German pedagogy diverged on the correct approach to proper resonation in two ways.

Mannstein, Sieber, Bruns, Husler, Martienßen-Lohmann, Schmitt, and Hey adhered to an Italian

chiaroscuro approach. In contrast, others supported a darker tonal aesthetic emphasizing the

“rounding” of vowels to avoid the bright quality of forward vowels – e.g. [i] and [e] (Armin and

Müller-Brunow).

Italian Roots

Chiaroscuro Tone

The chiaroscuro tone (a balanced tone consisting of light and dark qualities) is a hallmark of

419. Vennard, Singing, 24.

420. Schmitt, Grosse Gesangschule für Deutschland, 28.
421. Armin, Das Stauprinzip, 20.
 154

the Italian method that Mannstein, Sieber, Bruns, Husler, Martienßen-Lohmann, Schmitt, and

Hey adopted. Authors who advocated this type of tone described it as having a forward sensation

that resonated in the upper vocal tract near the sinus cavities, i.e. sympathetic nasal resonance.

Scholars differed on the degree of nasality that should be present in the tone. For example,

Mannstein and Sieber clearly differentiated a balanced tone with good nasal resonance from a

tone that was strictly nasal, what they called a Nasenton. The Nasenton was a tone both authors

believed singers should avoid.

In addition to the Nasenton, the other main type of faulty tone Mannstein and Sieber

identified was the Kehlton (the throaty tone). They both saw the balanced tone as being between

these two types of faulty sounds (i.e. Nasenton and Kehlton).

In contrast, it can be argued that Schmitt advocated for a tone that was actually nasal. He

believed the nasal tone was the correct method to access the upper range, as he said the sound

should flow through the nasal sinuses. Whether he was truly after a nasal tone or whether he was

overemphasizing the sensation of nasal resonance is ambiguous. However, it is clear that Schmitt

saw some form of this quality (nasality or nasal resonance) as important in equalizing the voice

and developing carrying power.

To acquire a chiaroscuro tone, the majority of writers (Mannstein, Schmitt, Sieber, Hey,

Martienßen-Lohmann, and Husler) followed the Italian tradition of acquiring the correct mouth

and tongue position for phonation. Nearly all the German pedagogues supported a tongue position

in which the tongue would lie flat in the mouth with the tip touching the roots of the front teeth.

Some (Mannstein, Sieber, and Schmitt) also recommended an oval mouth position with a raised

upper lip exposing the upper front teeth, thereby engaging the zygomatic muscles and soft palate

to create more brilliance in the tone.

 155

German Modification

Speech-Based Approach, Si canta, come si parla

The idea that correct placement for singing is derived from speech came from the Italian view

of “si canta, come si parla” (sing how you speak). While several authors adhered to this principle

(Hey, Müller-Brunow, Schmitt, and Bruns), all but Bruns exaggerated the principle, believing

articulation should be stronger than in the Italian tradition.

Rounding of Vowels

Armin and Müller-Brunow taught students to avoid high partial vowels ([i] and [e]) through

modification to umlauted vowels ([œ], [ø] and [y]). Armin called this approach Rundung

(rounding) to overcome the duality of bright and dark vowels. Through Rundung the “flat” nature

of the forward vowels and the “cavernous” aspects of the dark vowels were unified. While use of

mixed vowels can be helpful in acquiring a more balanced tone through blending higher and

lower partial elements, Armin’s view of a tense expanded lower body and a depressed larynx

position suggested he was looking for a darker tonal preference. In the case of Müller-Brunow,

use of umlauted vowels was strongly connected to the feeling of sympathetic nasal resonance,

likely resulting in a brighter tonal quality. In fact, Armin claimed Müller-Brunow's technique

caused his students' voices to sound thin, lacking body in their singing. Thus, it is likely that

Müller-Brunow’s tonal preference did not match Armin’s.

Phonation

Two aspects of phonation were addressed by all German authors, these being laryngeal

positioning and the onset.

Laryngeal Positioning

A comfortable low laryngeal position for singing was recommended by seven of the nine

German authors reviewed. There were two exceptions - Armin favored a forced low laryngeal

position and Schmitt supported a high laryngeal position.

 156

Italian Roots

Comfortable Low Laryngeal Positioning

Many of the German scholars adopted the Italian view that the larynx should remain in a

comfortably low laryngeal position (Mannstein, Hey, Müller-Brunow, Bruns, Martienßen-

Lohmann, Sieber, and Husler). In addition, Martienßen-Lohmann and Husler promoted the idea

the larynx is brought into a comfortably low position through proper diaphragmatic inhalation.

German Modification

Forced Low Laryngeal Positioning

A fabricated laryngeal position is the common stereotype of the German school of singing

among pedagogues. However, only George Armin reflected this view in his Stauprinzip.

Nevertheless, many of the German authors (Hey, Müller-Brunow, and Husler) placed more

significance on laryngeal positioning than was made in the Italian tradition. While they were

advocating for a comfortable low laryngeal position, this could have led to an exaggeration of this

fundamental and may be the reason for the common English stereotype. Martienßen-Lohmann's

discussion of a low laryngeal position confirmed this notion in her reflections on the teaching of

Julius Stockhausen. She believed his emphasis on low-laryngeal positioning was exaggerated by

his students and teaching assistants.422

High Laryngeal Position

Friedrich Schmitt was the only author who recommended a high laryngeal position for

singing. His idea may have been an attempt to counteract a depressed low laryngeal position, but

this is unclear. However, he did state that as one ascends to the upper range, the larynx should

rise.423

422. Martienßen-Lohmann, Der wissende Sänger, 168.

423. Schmitt, Grosse Gesangschule für Deutschland, 15.
 157

Onset

Italian Roots

Balanced Onset

A balanced onset is a characteristic of the Italian technique. While pedagogues at the time did

not understand the science behind this principle, all differentiated between a balanced, glottal, and

breathy onset.

Coup de glotte

The majority of authors were critical of the supposed glottal attack (coup de glotte)

recommended by the highly regarded teacher, Manuel Garcia II, believing it was harmful to vocal

health. While it is unlikely that Garcia actually intended a glottal attack (he was likely advocating

for a precise balanced onset), many German authors interpreted it as such and advocated strongly

against it.

Three authors, however, Mannstein, Sieber, and Schmitt described correct onset

corresponding closely to Garcia's views. They recommended an attack that was to be produced

quickly and was to be exact. Schmitt described this onset as like the “stroke of the hammer.”424

Like Garcia, they were probably suggesting a balanced onset.

German Modifications

To prevent faulty onsets (breathy and glottal), several authors recommended using a

consonant in connection with the attack (Hey, Müller-Brunow, Schmitt, Armin, Bruns, and

Martienßen-Lohmann). Use of consonants is a modification of Italian technique, in which

consonants are used to aid in phonation and balance resonance. Unlike the Italians, who

recommended primarily practicing onsets solely with vowels,425 Germans achieved a balanced

onset with the help of a consonant. This was done in order to counteract the glottal-like nature of

their native language.

424. Ibid., 15.

425. Armin, Das Stauprinzip, 5-6.
 158

Registration

There were two conflicting views as to how best to achieve balanced registration. Mannstein,

Bruns, Martienßen-Lohmann, Husler, Sieber, and Schmitt recommended registers be unified from

the top down, placing particular importance on head voice. Alternatively, Armin, Bruns, and

Müller-Brunow ascribed to a view that registers be blended from the bottom up - the approach

that the strengthening of chest voice was the correct method to bridge registers.

Italian Roots

Head Down Approach

Head voice or falsetto was a primary principle in the Italian technique for mastering

registration. Early Italian writings valued building this register from the top down. Through

agility exercises, and exercises that contrasted head and chest voice combinations at passaggio

points, singers learned to trust a stronger head voice coordination. This, in turn, influenced and

created a healthier balance with the singer's chest voice. This approach was advocated by the

German authors Mannstein, Bruns, Martiennßen-Lohmann, Husler, Sieber, and Schmitt.

Gradual Adjustment at Passaggio Points

When creating an even scale, a gradual adjustment at passaggio points was taken from the

Italian tradition and incorporated into German methods. Mannstein, Bruns, Husler, Sieber, Hey

and Schmitt took the simple approach to registration, believing the singer should focus solely on

the correct relationship between head and chest voice. Specifically, they said that for pitches

above passaggio points, a head voice adjustment should be used, and below passaggio points, the

chest voice mechanism should be used. On the other hand, Hey, Martienßen-Lohmann and Armin

viewed the importance of vowel modification to achieve smooth register shifts. Use of both of

these techniques corresponded to the Italian tradition.

German Modification

Bottom Up Registration

Another view of registration was that registers should be blended through strengthening of
 159

the chest mechanism (Hey, Schmitt, Armin, and Müller-Brunow). Armin and Müller-Brunow

believed the voice needed to be strengthened first in the modal register before the upper range

could even be considered. Armin went so far as to say it was the strength of the chest voice that

made head tones acceptable for performance.426

Hey and Schmitt also thought a strong chest voice was the key to creating an even scale, but

they too believed incorporating head voice was important. For example, Schmitt valued falsetto

as a tool to create freedom in the tenor voice, while Hey argued for various mixtures of head and

chest depending on the sung range. In the upper range, Hey recommended an 80-20 balance of

head/nasal resonance to chest resonance and in the lower range a 20-80 balance of head/nasal to

chest resonance, and a 50-50 balance of head/nasal resonance in the middle register.

How German is the German Approach? A Matter of Degree

Although Germans would like to think they developed a singular, unique approach to singing,

the German School of Singing that eventually evolved was based on early Italian ideas. As

German singing technique developed, German pedagogues modified many well-accepted Italian

principles, in fact, at times, completely rejecting some ideas such as the Italian influence of

vocalism over diction. For example, Germans created a new approach called Sprechgesang or

German bel canto. They also chose to override the elastic principles of Italian appoggio,

replacing this technique with an exaggerated muscular expansion of the chest. Thus the German

approach became a matter of degree to which pedagogues adopted Italian ideas, with some

German authors designing a modified Italian approach while others deviating little from authentic

Italian technique.

This analysis demonstrates that George Armin was most closely aligned with a German-only

technique. Armin exemplified nearly all commonly held views of the German approach to singing

- muscular tension of the respiratory muscles, overfilling the lungs with air, avoidance of high

426. Ibid., 61.

 160

partial vowels, a fabricated low laryngeal position, overemphasis on diction, and approaching

registers from the bottom up (strengthening of chest voice to make head voice viable). He strictly

enforced both modifying and exaggerating existing Italian methods. Although Armin was

authentically German in his approach, he was the one pedagogue most criticized by his German

colleagues, particularly Bruns, Martienßen-Lohmann, and Husler,427 who viewed his technique as

astonishingly harmful to the health of the singer. Martienßen-Lohmann went as far to consider

Armin’s legacy as that of a "voice wrecker"!428

Schmitt and Müller-Brunow, while less associated with a pure German approach than Armin,

championed mainly Germanic principles by incorporating some key Italian elements. Schmitt

chose a Germanic muscular approach to breathing and an overexpansion of the lungs, an

approach later advocated by Armin. He differed from Armin in his view of a high larynx position

and brighter tonal preference. The Italianate characteristics Schmitt selected were use of

consonants to balance tone quality and aid in creating a brighter tonal quality. Nevertheless, this

point is debatable as his choice for a “nasal” tonal quality leaves questions as to whether he was

truly looking for sympathetic nasal resonance or an actual nasal tone.

Müller-Brunow used German principles to construct his ideas on diction, tonal preference,

and strengthening of registers from the bottom up (importance of chest voice). The one Italianate

idea he incorporated was a forward placed tone in connection with breath flow (imposto).

However, his views on respiration are unclear since they were not thoroughly documented. Thus,

his position on breathing for singing remains unknown.

Hey's Germanic legacy was also very significant. He emphasized increased diction over vocal

line, building registers from the bottom up and use of a consonant in achieving a balanced onset,

clearly a German approach. However, Hey does demonstrate some Italian influence, namely, his

quest to develop a balanced resonant tone (chiaroscuro), what he called “the ratio of head and

427. Bruns, Minimalluft und Stütze, 12-17; Husler and Rodd-Marling, Singing, 44-45;
Martienßen-Lohmann, Der wissende Sänger, 365-366.
428. Martienßen-Lohmann, Der wissende Sänger 7-11.
 161

chest resonance” in his students.429

Mannstein, Sieber, Bruns, Martienßen-Lohmann, and Husler were primarily proponents of

Italianate methods. The earliest authors, Mannstein and Sieber, developed their aesthetics through

direct lineage, while the later authors Bruns, Martienßen-Lohmann, and Husler came from the

rekindled view that Italian principles did in truth achieve optimal function.

All German authors adhered to Italian characteristics, customizing these principles to their

individual methods. There are seven hallmark Italian principles running through the design of

German technique. These include diaphragmatic-costal breathing, elastic tension of the breath

musculature, breath-resonance connection, chiaroscuro tone, importance of head voice in

registration, use of consonants in balancing a tone, and a gestalt approach to vocal pedagogy.

Tables 14.1.and 14.2. summarize key attributes used by German authors in their approaches.

Characteristics associated with the Italian tradition are listed in Table 13.1. German traits are

noted in Table 14.2.

429. Hey, Hey, and Volbach. Der kleine Hey, 13.

 162

Table 14.1. Italian Characteristics of the Castrati Tradition Applied to German

Technique430

Use of consonants
Registration from
Elastic tension of

Chiaroscuro tone

Gestalt approach
costal breathing
Diiaphragmatic-

Imposto: breath

(importance of

in balancing a
Author

the top down

musculature

head voice)
connection
resonance
breath

tone
Mannstein x x x x x
Schmitt ? x x
Hey ? x x x x
Sieber x x x x x x
Müller-Brunow ? ? x x
Armin (not used)
Bruns x x x x x x
Martienßen-Lohmann x x x x x x x
Husler x x x x x ? ?

Table 14.2. Attributes of the German Approach to Singing

Use of consonants
Forced low larynx

Blending registers
bauchausenstutze

overexpansion of

from bottom up

balanced onset
clearer diction
Overfilling of

Author

Emphasis on
Darker tonal

One method
High larynx
approach to
breathing –
Abdominal

respiration

in aiding a
preference
Pancostal

Muscular
breathing

approach
the chest

position

position
lungs/

Mannstein x
Schmitt x x x ? x x x
Hey ? x x x x
Sieber
(not used)
Müller- ? ? x x x
Brunow
Armin x x x x x x x x
Bruns ? x x

Martienßen x
-Lohmann
Husler ?

430. In this table, I attempted to capture the views of each author as I interpreted the literature. For
example, Schmitt viewed the expanded chest to be similar to the Italian model of a fixed chest position. My
interpretation suggests Schmitt was suggesting a more muscular position of support. Notation in the table is
as follows: An "x" corresponds to an author's view clearly expressed in the writing. A question mark
corresponds to traits that are not explicitly stated, but the writing and other evidence support the author's
recommendation. For example, Paul Bruns indicated clear diction is an important element, more so than
Mannstein and Sieber. However, Bruns does not explicitly present his argument for clear diction, as for
example, Hey does. Therefore, Bruns' idea is not ignored, but it also cannot be decisively confirmed.
 163

Results of this research are important to singers and to teachers of singing. This compendium

provides an in depth historical analysis of writings of those who developed and documented the

German approach to singing as it advanced over time. Ideas about correct technique, both for

singing and the teaching of singing, can be useful and successfully applied to teaching techniques

for the modern pedagogue. Other techniques, particularly Armin's, are interesting to understand

but are much less likely to be incorporated into today's teaching of singing. These alternate

techniques may however be ideas that contemporary singers and teachers encounter and therefore

are important to a comprehensive discussion of a German School of Singing.

The answer then to the questions posed at the outset --- What is a German School of Singing?

If and how did other singing traditions influence German singing, and if so, to what degree? Or

was the German method created independently? --- are found in the study of these German

pedagogues. These authors document for us a modified German approach to traditional Italian

methods that, in the aggregate, created a defined, fully matured German School of Singing.
 Appendix: Glossary of Terms

 Aperto (voce aperta)

o Italian term defined as “open voice” equates to the modern description of open
timbre. Open timbre occurs when two or more harmonics remain below the first
formant of the sung vowel.431 This type of timbre, when taken too high, is often
associated with the “call” of the voice or a “yell-like” timbre (open voice – voce
aperta) that connotes “unskillful” singing in male voices.432

 Appoggio
o Italian for “To lean upon”, is a technique of breath control for singing and
considered a hallmark of the international approach to singing. It consists of
dynamic cooperation between the diaphragm and the muscles of the abdomen
and thoracic cage. In addition, it cannot be separated from phonation and
resonation. In the Italian view all of the cooperation of all these elements is a
central part of appoggio. It is also called diaphragmatic-costal breathing.433

 Ausgleich (Ausgegeglichen)
o German term for balance, equalized or adjusted. Armin used this term in his
discussion of registration. He believed that achieving this balance (ausgleich)
was the proper way to even out a singer’s scale. This method demanded the
singer retain the individual timbre characteristics of the head and chest registers
and only lessen the contrast between them. This is in contrast to the technique of
Verschmelzung (fusing), a method he felt was supported by many of his
contemporaries. In Verschmelzung the head and the chest register become one
unified register with no notable breaks.

 Bauchausenstütze
o A German method of breath management, which literally translated means
“stomach-outward-support.” It is characterized by a collapsed chest and a
distention of the abdominal wall.
 Bernacchi, Antonio (1685-1756)
o Was a well-known castrato (mezzo soprano) and voice teacher. He was a pupil of
the famous castrato Antonio Pistocchi (1659-1726) who also was a famous
teacher and recognized as the source of the “Bolognese method of singing.” Two
authors, Mannstein and Sieber, included in this review draw their lineage to
Bernacchi through their teacher Johannes Aloys Miksch (1765-1845).

 Brustregister (Chest register)

o Term used by voice teachers to describe the muscular adjustment and tone
quality of the lower range. The name likely comes from description of
sympathetic vibrations felt in the chest. Modern day terms for this register are the
modal voice, heavy mechanism, and a thyroarytenoid-dominant tone.

431. Bozeman, Practical Vocal Acoustics, 111.

432. Miller, Solutions for Singing, 256.
433. Ibid., 249.

164
 165

 Castrato
o A male singer who was castrated as an adolescent in order to preserve his
soprano or mezzo soprano voice. Much of the demanding operatic repertoire of
the early 17th and the 18th century was written for these singers. They were
known for their mastery of vocal technique.

 Chiaroscuro
o A balanced resonate tonal quality consisting of an equilibrium between light
(high spectrum) and dark (low spectrum) qualities.

 Chiuso (voce chiusa)

o Italian term literally translated as “closed voice”, corresponding to the timbre
associated with the event of “turning over” in the male voice when moving to the
upper register. It occurs when the second harmonic rises above the first formant
frequency.434

 Claire timbre
o A term used by Manuel Garcia II to describe open timbre. See Aperto

 Coup de glotte (stroke of the glottis)

o Type of vocal attack advocated by Manuel Garcia II. While it literally means a
glottal attack, many modern scholars view it as a precise coordinated onset.

 Deckung
o A form of mechanical covering in which vocal timbre is altered and over-
darkened in attempt to balance vocal registers.

 Endbildung
o Term used by Armin to describe a fully balanced tonal quality, developed
through timbre matching of the Primärton (primary tone), i.e. the vowel [œ].

 Falsetto
o A tonal quality of the male voice imitative of the female voice.435 This is
cricothyroid dominate tone, but achieves less closure than in the mixed quality of
head voice.

 Falsettregister
o See Falsetto

 Filar il tuono (spinning of tone)

o Italian term used to describe the way a singer uses the breath during phonation. It
suggests the singer was to have the sensation that the tone was “drawn inwards”,
describing the balance between fully approximated vocal folds and breath
pressure.

434. Bozeman, Practical Vocal Acoustics, 106.

435. Miller, Solutions for Singing, 251.
 166

 Flach
o Term used by Armin to describe what he viewed as the “flat” or “thin” vocal tone
quality naturally characteristic of closed vowels such [i]. Flach tones, in Armin’s
view, were the diametric opposite of hohle (cavernous) tonal quality (vowels
such as [u]).
 Freilauf
o Term used by Bruns to describe a coordinated balance between the phonatory
and respiratory muscles. It reflects the myoelastic-aerodynamic theory of voice
production where the breath plays a large function in fully adducting the vocal
folds. Through the “relaxation” of the respiratory muscles and the use of a
minimal amount of air, Bruns believed the voice could achieve optimal function
resulting in beauty of tone and the creation of partial tones or carrying power.

 German bel canto

o An approach to singing advocated by Julius Hey. In contrast to the Italian bel
canto tradition where, in Hey’s view, pure vocalism trumped text comprehension,
Hey argued for a new method in which more articulation of the text would be
heard. The aim, however, was not to destroy the influence of vocalism, rather to
lessen it.

 Gold’ne Brücke
o Term used by Julius Hey to describe the balance between head and nasal
resonance to unify registers and create a balanced tonal quality.

 Halt
o Literally translated as a “foothold”, a term used by Julius Hey to describe a
feeling of “support” or stability that a comfortably low laryngeal position gave to
the singer.

 Hohle
o Term used by George Armin to describe what he viewed as the naturally dark
tonal quality of certain vowels such as [u] or [o]. This tonal quality opposed
Flach (flat or thin) tonal quality (vowels such as [i] and [e]).

 Idealton
o Term used by Julius Hey to describe a fully developed tonal quality. It was to be
developed from the Naturton and the Normalton.

 Kehlton (throaty tone)

o A tonal quality that lacked beneficial sympathetic nasal resonance, sounding to
the listener as if the tone was “placed” in the throat.
 167

 Mezzo respiro
o This literally translates as a half breath also commonly referred to as a catch
breath. In the bel canto tradition, it was to be used when the singer had to breath
quickly in the middle of a phrase. The singer was to replace the air that was lost
while maintaining expansion of the chest.

 Miksch, Johannes Aloys (1765-1845)

o A well-regarded teacher and singer who was based in Dresden. Miksch drew his
lineage to the Bolognese school of singing of Antonio Bernacchi through his
studies with the castrato, Vincenzo Caselli. Miksch was the teacher of both
Mannstein and Sieber.

 Minimalluft (minimal air)

o Minimalluft translates as minimal air. It was the amount of air Paul Bruns
believed was key to developing the best coordination for singing. This is in
contrast to the practice of what he called “overfilling” the lungs advocated by
some of his contemporaries.

 Myoelastic-aerodynamic theory of voice production

o A theory of phonation in which the vocal folds approximate to the thought of
pitch and are fully adducted through the air passing between them by the
Bernoulli principle.

 Nach-hinten-singens
o German phrase that translates as “singing towards the posterior” as a means to
create space in the pharynx in order to “open the throat”. Richard Miller noted
that it was a method advocated by many German voice teachers.436

 Nasenton
o A nasal tone. This tonal quality occurs when the soft palate is too low during
phonation, opening the nasopharynx to give the sound a nasal quality.

 Naturton
o The most natural and easiest tone a student can produce. It was the tone Julius
Hey first sought when working with a new student. From this tone, the
coordination leading to the Idealton can be developed.

 Neurochronaxic theory of voice production

o Theory that phonation is controlled by the impulse of the recurrent nerve rather
than breath as the motor.437

 Normalton
o Term originating with Julius Hey, this tonal quality is a refined version of the
Naturton but not yet a fully cultivated Idealton. See Naturton and Idealton.

436. Ibid., 68.

437. Vennard, Singing, 260.
 168

 Primärton
o Term used by Müller-Brunow and Armin to describe the easiest tone a singer
could sing on a mixed umlauted vowel [œ, ø]. It was the basic tonal quality these
teachers first sought to develop in their students and served as the basis for
cultivating the rest of the voice.

 Respiro
o A long slow inhalation that allowed the singer to take a full breath that would
release the breath musculature. The result was a flexible expansion that best set
the conditions for singing.

 Rundung
o Term used by Armin to describe the balancing of vowel timbre. In Rundung, high
spectrum vowels were mixed with low spectrum vowels to create a balanced
tone.

 Solita forma
o A set operatic form of the bel canto period used by composers from Rossini to
Verdi.

 Sombre timbre
o Term used by Manuel Garcia to describe closed timbre. See voce chiusa

 Sprechgesang
o Term used by Julius Hey to describe the increased emphasis of diction over
vocalism. See also German bel canto. This term differs from the technique used
by the serialist composers (e.g. Schoenberg).
 Stauprinzip
o A technique advocated by George Armin and later pedagogues to overcome the
natural dualism of the voice. It consisted of storing the breath through extreme
muscular expansion of the chest and lower body and damming it against firmly
closed vocal folds.

 Stelleinsatz
o German term for a balanced coordinated onset in which the vocal folds
approximate to the thought of pitch and are fully adducted by the breath passing
between the folds (Bernoulli principle). See also myoelastic-aerodynamic theory
of voice production and coup de glotte.

 Stimmbildung
o See Tonbildung

 Stütze
o German term for “breath support”. In many pedagogical views, this is a more
muscular approach than in the Italian tradition.

 Tiefgriff der Stimme

o Term used by Julius Hey to describe the importance of a low laryngeal position
in singing. This position, in Hey’s view, gave the voice a support point to enable
it to function freely. See also Halt.
 169

 Tonbildung
o Approach to teaching singing using a mechanical-physiological method. It is
devoid of the pure singing exercises (e.g. agility, messa di voce) of past
pedagogical approaches.

 Verschmelzung
o Term used by Armin to describe the fusing of registers. The two vocal registers,
chest voice and head voice, lose their individual qualities and become one. The
term is interchangeable with voix mixte. This was a technique Armin did not
advocate, rather he believed registers should be “balanced” (ausgeglichen)
retaining their individual characteristics.

 Voix mixte
o French term for registers that are totally unified without any notion of register
breaks. See Verschmelzung.

 Wortbildung
o The cultivation and refinement of diction (i.e. correct coordination of vowels and
consonants).
 Bibliography
Appleman, D. Ralph. The Science of Vocal Pedagogy: Theory and Application. Bloomington:
Indiana University Press, 1967.

Armin, George. Das Stauprinzip oder, die Lehre von dem Dualismus der menschlichen. Stimme,
dargelegt für Sänger, Schauspieler und Rezitatoren. Leipzig: C.F.W. Siegel's
Musikalienhandlung, 1909.

Blume, Friedrich and Ludwig Finscher. Die Musik in Geschichte und Gegenwart: Allgemeine
Enzyklopädie der Musik; Personenteil,12. Kassel: Bärenreiter, 2004.

Blume, Friedrich, and Ludwig Finscher. Die Musik in Geschichte und Gegenwart: Allgemeine
Enzyklopädie der Musik Personenteil 3. Kassel: Bärenreiter, 2000.

Bozeman, Kenneth. Practical Vocal Acoustics: Pedagogic Applications for Teachers and
Singers. Hillsdale, NY: Pendragon Press, 2013.

Brown, Oren. Discover Your Voice: How to Develop Healthy Voice Habits. San Diego: Singular
Publishing Group, 1996.

Bruns, Paul. Minimalluft und Stütze. Berlin-Charlottenburg: Walter Göritz, 1929.

Coffin, Berton. Historical Vocal Pedagogy Classics. Lanham, MD: Scarecrow Press, 2002.

Dayme, Meribeth Bunch. Dynamics of the Singing Voice. Wien: Springer, 2009.

Die Musik in Geschichte und Gegenwart 1, 1. Kassel: Bärenreiter, 1999.

Doscher, Barbara M. The Functional Unity of the Singing Voice. Metuchen, NJ: Scarecrow Press,
1994.

Garcia, Manuel, and Donald V. Paschke. A Complete Treatise on the Art of Singing: Complete
and Unabridged. New York: Da Capo Press, 1984.

Grey, Thomas S. Richard Wagner, Der Fliegende Holländer. Cambridge, UK: Cambridge
University Press, 2000.

Hey, Julius. Deutscher Gesangs-Unterricht. Lehrbuch des sprachlichen und gesanglichen

Vortrags. Mainz: B. Schott's Söhne, 1884.

Hey, Julius, Hans Erwin Hey, and Fritz Volbach. Der kleine Hey. 2,1, 2,1. Mainz: Schott, 1913.

Husler, Frederick, and Yvonne Rodd-Marling. Singing: The Physical Nature of the Vocal Organ:
A Guide to the Unlocking of the Singing Voice. London: Hutchinson, 1976.

Historische Kommission bei der Bayerischen Akademie der Wissenschaften, F., “Miksch,
Johannes Aloys” in: Allgemeine Deutsche Biographie 21, (1885). 726. [Onlinefassung].
Last modified November 11, 2014. Accessed March 2, 2016.
http://www.deutsche-biographie.de/sfz63324.html#top.

170
 171

Fürstenau, Moritz, 1884. "Mannstein, Heinrich Ferdinand," In Allgemeine Deutsche Biographie,

edited by Bavarian Academy of Sciences, vol. 20, 211-212. Leipzig: Duncker &
Humblot.

Kutsch, Karl J., Leo Riemens, and Hansjörg Rost. Grosses Sängerlexikon Bd. 4 Bd. 4. München:
Saur, 2003.

Kutsch, Karl J., Leo Riemens, and Hansjörg Rost. Grosses Sängerlexikon Bd. 6 Bd. 6. München:
Saur, 2003.

Leyerle, William D. Vocal Development Through Organic Imagery. Geneseo, NY: Leyerle
Publications, 1986.

Mannstein, Heinrich Ferdinand. Die grosse italienische Gesangschule. Dresden: Arnoldischen

Buchhandlung, 1848.

Marek, Dan. Singing: The First Art. Lanham, MD: Scarecrow Press, 2007.

Martienßen-Lohmann, Franziska. Der wissende Sänger: Gesangslexikon in Skizzen. Zürich:

Atlantis-Musikbuch-Verl., 1988.

McCoy, Scott. Your Voice: An Inside View. Princeton: Inside View Press, 2006.

Miller, Richard. National Schools of Singing: English, French, German, and Italian Techniques
of Singing Revisited. Lanham, MD: Scarecrow Press, 1997.

Miller, Richard. Solutions for Singers: Tools for Performers and Teachers. Oxford: Oxford
University Press, 2004.

Miller, Richard. The Structure of Singing: System and Art in Vocal Technique. Boston: Schirmer
Cengage Learning, 1996.

Müller-Brunow, Bruno. Tonbildung oder Gesangunterricht? Beiträge zur Aufklärung über das
Geheimnis der schöner Stimme. Leipzig: C. Merseburger, 1904.

Murdock, Ron. "Prof Frederick Husler." Cursa Ur. Last modified 2015. Accessed June 12, 2015.
http://www.cursa-ur.com/husler.html.

National Center for Voice and Speech. “Vocal Ring, or The Singer’s Formant.” Last modified
n.d. Accessed March 18, 2016.
http://www.ncvs.org/ncvs/tutorials/voiceprod/tutorial/singer.html.

Reinders, Ank, and Heinz Kimmerle. Atlas der Gesangkunst. Kassel: Bärenreiter, 1997.

Schmitt, Friedrich. Grosse Gesangschule für Deutschland. München: Beim Verfasser, 1854.

White Dee, Janis. "Anna Schoen-René: Minnesota Musical Pioneer," Minnesota History
48, no. 8 (Winter, 1983): 332-338.
 172

Sieber, Ferdinand, and Ferdinand Seeger. The Art of Singing. New York: Wm. A Pond, 1872.

Smith, W. Stephen, and Michael Chipman. The Naked Voice: A Wholistic Approach to Singing.
New York: Oxford University Press, 2007.

Stanley, Douglas. Your Voice: Applied Science of Vocal Art, Singing and Speaking. New York:
Pitman Publishing Corporation, 1945.

Stark, James A. Bel Canto: A History of Vocal Pedagogy. Toronto: University of Toronto Press,
1999.

Sundberg, Johan. The Science of the Singing Voice. DeKalb, IL.: Northern Illinois University
Press, 1987.

The Voice Foundation. “Therapy for Singers Part 1, Brown,” The Voice Foundation Archives.
Last modified October 29, 2015. Accessed March 1, 2016.
https://www.youtube.com/watch?v=8VpgvqN-53o.

Titze, Ingo R., and Fairborz Alipour. The Myoelastic Aerodynamic Theory of Phonation. Denver:
National Center for Voice and Speech, 2006.

Trimble, Michael, Richard Di Renzi, and Christopher Arneson. Fundamentals of Great Vocal
Technique: The Teachings of Michael Trimble. Delaware, OH: Inside View Press, 2013.

Vennard, William. Singing: The Mechanism and the Technic. New York: C. Fischer, 1967.

Westrin, Th., E. Fahlstedt, and V. Soderberg, Nordisk Familjebok. 37 supp. L, 652. Last modified
June 13, 2013. Accessed May 18, 2015. http://runeberg.org/nfcq/0362.html.

Zemlin, Willard R. Speech and Hearing Science: Anatomy and Physiology. Boston: Allyn and
Bacon, 2011.