VOICE AND VOICE CULTURE. The art of singing was developed to meet the de mands of modern music. That which we under stand as the science of voice culture, or the means of cultivating the singing voice that it may be used as a musical instrument, came into being after music had shaped itself to ex press strong emotional sentiment. In the clos ing years of the 16th century the attempt to restore Grecian art in its several branches led to the invention of new forms of musical ex pression. Previous to that time, little, if any, music was written for the solo voice. There was no demand, therefore, for especial train ing for singing. The new forms given to music were (1) the opera, in which dramatic action was united to musical setting of the story. The story was given out by single voices, by two in dialogue, by three, four or more in unison or harmony. The plot of the opera was, from the beginning, in comedy or tragedy and secular in nature; (2) oratorio, which certainly at first was much like the opera, except that the story was from sacred writ. A form of composition invented at this time was recitative which was, and ever has been, for the single voice. Advances in these forms of composition have exacted more and more of singers. Invention of modern music created the need of special training of the singing voice and advance into larger forms of music.al exprestion and has kept the demand for greater skill on the part of vocalists ever in creasing. A rnodern music came into recogni tion in Italy (in Florence, about the year 1600) the first definite system of voice culture began there. It was devised by the composers that their operas and oratorios rnight be sung as they wished them sung. There was no dthnite plan accepted for general use during the 1st century of modern music.
Every composer sought some means by which to have his compositions well sung, and each followed his own course. In 1686 was born one destined to establish a semblance of order. Niccolo Porpora, born at Naples, be came a composer. His opera.s were very florid and none were found among singers able to cope with them. His earnestness Tor his own interests made him, an educated man for his age. devise a better system of vocal training than had ever been used. And for the first time was established a vocal method. It was the beginning of the Old Italian method, some form of which was continued to our own time. Unfortunately, Porpora lett no record of his manner of teaching. We must judge what he did from the demand his music made. His writing for solo voices called for great flexibil ity and range of voice and his phrases were of great length. We must suppose from this that
his pupils were taught to sustain the breath a long time, to sing smoothly and rapidly and to touch with delicacy and hghtness the notes in the extremes of the voice. Probably his personality was commanding and that he curbed with masterful hand all attempts on the part of his pupils to depart into anything outside these few requirements. Farinelli, one of his greatest pupils, departed from the simplicity of Porpora's rules, but not until after Porpora passed away. It is known that Porpora kept his pupils many years at work on the simplest exercises. It is related that Caffarelli, one of his most noted pupils, studied a single page of exercises for seven years and when he finally became restless, the master said: ((you may go now; you are the greatest singer in Europe." Perhaps one reason why so little is known of Porpora's vocal method is because he did tot remain long enough in one place to fotmd a school which could preserve records. He wished for fame as a composer and went from city to cify to make his worlcs known. His pupils followed. That, on the other hand, spread the good vocal teaching. In every large city of Italy and in many Austrian and Ger man places the effect of his good teaching was felt. Porpora lived till 1767 and will ever have the honor of establishing vocal method. It was not,.so tar as we know, scientific, yet it was definite and could be understood. His pupils who continued at Naples maintained his tradi tions conscientiously for a century. Others who were attracted to London, Paris and Vienna kept up a form of Porpora's vocal method. Farinelli, after a wonderful career as singer and politician (having been the power behind the throne of Philip V of Spain), re tired to Bologna where he passed the last 23 years of his life. Bologna had the honor of establishing the first great music school (which began in 1482 and was the musical centre of the day. Farinelli did not become a singing teacher by making it his profession, but he trained many of the singers who were con nected with the theatre. In this way, he more than arty other, handed down tbe Porpora method. Nearly all the composers of the day came into contact with that method and for the first time in the history of music, vocal metItod influenced composition. Mozart had singing lessons.with pupils of Porpora. Haydn was accompanist to Porpora for three years. Rossini was born into the Bologna life. Bellini, Donizetti and Mercadante were all educated at Naples where the traditions were most rigca ously preserved.