A COMPREHENSIVE GUIDE TO VERDI’S ART SONGS

WITH APPLICATIONS FOR TEACHING AND PERFORMING

A DISSERTATION

SUBMITTED TO THE GRADUATE SCHOOL

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IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

FOR THE DEGREE

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DOCTOR OF ARTS
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BY

MARY KATHRYN BREWER

DISSERTATION ADVISORS: DR. DON P. ESTER AND DR. MEI ZHONG

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BALL STATE UNIVERSITY

MUNCIE, INDIANA

DECEMBER 2016




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ABSTRACT

Giuseppe Verdi was one of the most successful opera composers of the 19th

century. His operas, including Rigoletto, La traviata, and Otello, are still frequently

performed in opera houses around the world. In comparison, his 27 art songs are far

less known and rarely performed. The purpose of this project was to develop a

comprehensive guide to Verdi’s art songs for teaching and performing. This guide

examines Verdi’s 26 published art songs to highlight their value as a pedagogical bridge

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between lighter and heavier repertoire and to encourage the study and performance of

these pieces. The songs are discussed in terms of their composition and publication
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history and musical and text analyses, including examination of melody, harmony,

rhythm, tempo, text, and form. Additionally, direct comparisons between the art songs
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and opera arias confirm the benefit of the art songs as training pieces for future

performance of opera arias. Pedagogical and performance recommendations are also

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provided for each song. This guide highlights Verdi’s relatively unknown art songs,

provides a resource for the vocal pedagogy and performance community, and

encourages the study and performance of these pieces by students and professional

singers.
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ACKNOWLEDGEMENTS

I must thank so many people for sharing their time, talents, energy, and expertise

to make this project a success. First and foremost, I must thank my doctoral committee.

Thank you to Dr. Don Ester for his unending patience and encouragement throughout

this process. Thank you for pushing me to stretch myself, to work hard, and to

persevere. Thank you for every edit, criticism, and correction; without them and you, this

project wouldn’t be where it is today, and I wouldn’t be half the teacher or researcher I

am. I am and always will be very grateful to you. Thank you to Dr. Mei Zhong for sharing

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your knowledge with me and inspiring me to share the beauty and artistry of music with

my students and the vocal pedagogy community. Dr. Kathleen Maurer, thank you for
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our many conversations about repertoire and diction. Thank you for taking the time to

invest in this project and in me. Thank you to Dr. Barry Wagner for sharing with me your
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passion for audiology and speech-language pathology. Thank you for testing my

research skills and asking me hard questions. Finally, Dr. Linda Pohly, thank you for
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guiding me through my entire doctoral career. On personal and professional levels, you

have greatly influenced my life, and I thank you.

The musical examples in this project were created by Luciana Schulle and

Salvatore A. LoCascio. Thank you both so much for giving of your time and talents so

willingly. To the entire faculty of Ball State University School of Music, thank you for all

the wisdom you have instilled and the skills you have honed in me. My time at Ball State

has been challenging and rewarding, and it is due to you. Thank you!

To my “tribe,” thank you for coming alongside me during this journey. Thank you

for every hug, conversation, phone call, text message, e-mail, smile, and cup of coffee
 iv

you provided when I needed it. You have been the very hands and feet of Christ during

this time in my life, and I am so grateful for each of you. I Weiger’d it! To Kristin and

Eric, thank you for giving me a home, for your patience and love, for sharing meals with

me, and for allowing me to be a part of your family. I love you dearly.

To my parents, Rick and Kathy Brewer, what can I possibly say? Thank you for

being the most involved, supportive, and encouraging parents I can imagine. Thank you

for teaching me to love music and taking me to see my first opera. Thank you for

holding my hand during this process and for always being there. To my sister, Elizabeth,

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thank you for reminding me why I sing. You inspire me to live more fully every day.

Finally, I praise my God for this day, for the eyes to read books, fingers to type
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papers, ears to hear instruction, a voice for teaching and singing, a mind to grow in

knowledge, and a heart that has been changed through my doctoral studies and the
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writing of this paper. He has blessed me beyond measure, and I will continue to serve

Him in the best ways I can. Thank you, dear Lord, for Your care and mercy.
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TABLE OF CONTENTS

ABSTRACT………………………………………………………………………………………ii

ACKNOWLEDGEMENTS………………………………………...…...……………....………iii

TABLE OF CONTENTS....................................................................................................v

LIST OF FIGURES .........................................................................................................vii

LIST OF EXAMPLES......................................................................................................viii

CHAPTER I INTRODUCTION..............................................................................1

Purpose of the Project...........................................................................................3

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Limitations of the Project........................................................................................5

Definitions of Terms...............................................................................................6
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Significance of the Project.....................................................................................9

CHAPTER II REVIEW OF LITERATURE............................................................10

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Vocal Physiology and Singing Technique............................................................12

Registration..........................................................................................................12
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Repertoire............................................................................................................13

Performance Opportunities..................................................................................15

Similar Studies on Repertoire for Singers............................................................16

Verdi’s Art Songs.................................................................................................18

Chapter Summary................................................................................................21

CHAPTER III DESIGN AND METHOD................................................................23

The Art Songs of Giuseppe Verdi........................................................................23

The Development of the Teaching Guide............................................................25

Categories.................................................................................................25
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Pedagogical and Performance Practices..................................................29

Chapter Summary................................................................................................31

CHAPTER IV A GUIDE TO VERDI’S ART SONGS ............................................32

A Chronological Listing of Verdi’s Art Songs.......................................................36

An Annotated Index of Verdi’s Art Songs.............................................................37

Verdi’s Art Song Entries.......................................................................................41

CHAPTER V SUMMARY, DISCUSSION, AND RECOMMENDATIONS...........246

Discussion..........................................................................................................246

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Recommendations for Future Research............................................................252

Conclusion.........................................................................................................254
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REFERENCES.............................................................................................................255
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LIST OF FIGURES

3.1 The Art Songs of Giuseppe Verdi.............................................................................24

4.1 The Art Songs of Giuseppe Verdi.............................................................................36

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LIST OF EXAMPLES

4.1 B Section of “Non t’accostare all’urna.”....................................................................42

4.2 Rhythms and Text Setting in “Non t’accostare all’urna.”...........................................43

4.3 Opening Accompaniment of “Non t’accostare all’urna.”...........................................44

4.4 Stepwise Motion, Chromatic Pitches, and Vocal Entrances in “Non t’accostare

all’urna.”...............................................................................................................46

4.5 B Section Sixteenth-Note Accompaniment in “More, Elisa, lo stanco

poeta.”..................................................................................................................50

4.6 Shape of Melody in “More, Elisa, lo stanco poeta.”..................................................51

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4.7 Shape of Attendants’ Vocal Line in Un giorno di regno............................................52
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4.8 Dynamic Changes and Leap at the End of Section A in “More, Elisa, lo stanco

poeta.”................................................................................................................. 54
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4.9 Vocal Phrases in “In solitaria stanza.”......................................................................57

4.10 Simple Accompaniment in “In solitaria stanza.”......................................................58

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4.11 Ascending Melody in “In solitaria stanza.”..............................................................60

4.12 Ascending Melody in “Tacea la notte placida” from Il trovatore.............................61

4.13 Tremolos in Accompaniment and Use of Text Painting in Melody of “Nell’orrer di

notte oscura.”.......................................................................................................67

4.14 Simple Accompaniment in Section A of “Nell’orror di notte oscura.”......................68

4.15 Arpeggiated Chords in B Section of “Nell’orror di notte oscura.”............................69

4.16 Accented Words at the End of “Nell’orror di notte oscura.”....................................70

4.17 “Heartbeat” Eighth-Note Pattern in “Perduta ho la pace.”.......................................74

4.18 Off-beat Staccato on “Mio povero capo” in “Perduta ho la pace.”..........................74

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4.19 Open Vowels on Recurring Text of “Perduta ho la pace.”......................................77

4.20 Tempo Changes and Building Accompaniment

in “Deh, pietoso, oh addolorata.”..........................................................................82

4.21 Cantabile Section of “Deh, pietoso, oh addolorata.”...............................................84

4.22 Refrain of “Mon coeur s’ouvre à voix” from Samson et Dalila................................85

4.23 Text Painting on “Colli” in “L’esule.”........................................................................89

4.24 Accents and Dotted Rhythms to Symbolize Trembling in “L’esule.”.......................89

4.25 Ascending Pitches to Symbolize Free Spirit in “L’esule.”.......................................90

4.26 Triplet Accompaniment in Recitative of “L’esule.”...................................................92

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4.27 Calm Water Text Painting in “L’esule.”...................................................................92
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4.28 Agitated Accompaniment in Allegro Section of “L’esule.”.......................................93

4.29 Ascending Melody in “L’esule.”...............................................................................95

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4.30 Ascending Melody in “Non pianger, mia compagna” from Don Carlo.....................95

4.31 Broken Chords in the Accompaniment in “La seduzione.”....................................101

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4.32 Harmonic Change to Symbolize Grief in “Chi i bei dì m’adduce ancora.”.............104

4.33 Vocal Melismas and Accompaniment Pattern

in “Chi i bei dì m’adduce ancora.”......................................................................105

4.34 “Ah” During Key Change in “Chi i bei dì m’adduce ancora.”.................................107

4.35 Alfredo’s Melody in “Di quell’amor” from La traviata.............................................107

4.36 Beginning of “Chi i bei dì m’adduce ancora.”........................................................108

4.37 Beginning of “Erster Verlust.”................................................................................108

4.38 Recitative of “Cupo è il sepolcro e mutolo.”..........................................................113

4.39 Accompaniment Dynamics, Accents, and Staccati

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in “Cupo è il sepolcro e mutolo.”........................................................................114

4.40 Piano Sextuplets in the Col Canto Accompaniment

in “Cupo è il sepolcro e mutolo.”........................................................................115

4.41 Use of Dotted Rhythms and Repeated Pitches

in “Mi si affaccia un pugnal?!” from Macbeth.....................................................116

4.42 Use of Dotted Rhythms and Repeated Pitches

in “Cupo è il sepolcro e mutolo.”........................................................................117

4.43 Consistent Rhythm in Accompaniment of “È la vita un mar d’affanni.”.................120

4.44 Continuous Triplets in Accompaniment of “Il tramonto.”......................................124

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4.45 The Alternative Version of “Il tramonto.”..............................................................125
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4.46 Final Change in Accompaniment in Alternative Version of “Il tramonto.”.............126

4.47 Final Accompaniment Change in “Il tramonto.”....................................................127

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4.48 Crescendo and Decrescendo on High Ascending and Descending Melody

in “Il tramonto.”...................................................................................................128
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4.49 Sixteenth-Note Runs and Accented Pitches in “La zingara.”................................132

4.50 Repeated Sixteenth-Note Accompaniment and Simple Melody in “La zingara.”..133

4.51 Minor 7th Leap in Melody to Convey Remoteness in “Ad una stella.”...................139

4.52 Ascending High Pitches and Vocal Turn to Convey Freedom and Flying

in “Ad una stella.”...............................................................................................140

4.53 Repeated Sixteenth-Note Pattern in the Accompaniment and Rising and Falling

Melody in “Ad una stella.”..................................................................................141

4.54 A♭5 on “S’abbracciano” to Express Reaching to Embrace Angels

in “Ad una stella.”...............................................................................................141

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4.55 Syncopation in Accompaniment and Stepwise Motion in Melody

in “Ad una stella.”...............................................................................................142

4.56 Comparable Melody in “Ad una stella.”.................................................................144

4.57 Comparable Melody in Act III Duet of La forza del destino...................................144

4.58 Repeated Use of E5 in “O patria mia” from Aïda..................................................145

4.59 Repeated Use of E♭5 with Staccati and Phrasal Marks in “Ad una stella.”...........145

4.60 Large Leap Preceded by Middle Voice Pitches in “Ad una stella.”.......................147

4.61 Repeated E♭5 in “Ad una stella.”..........................................................................147

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4.62 Transition Between Allegro and Waltz in “Lo spazzacamino.”.............................153

4.63 Pronounced Accompaniment in the Refrain of “Lo spazzacamino.”.....................154

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4.64 Climax of Refrain in “Saper vorreste” from Un ballo in maschera........................155

4.65 Climax of Refrain in “Lo spazzacamino.”..............................................................156

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4.66 Transition into Refrain in “Lo spazzacamino.”......................................................157

4.67 Higher Starting Pitch on Third Phrase of “Il mistero.”...........................................161

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4.68 Repeated Pitches in the Vocal Line over Excited Accompaniment

in “Il mistero.”.....................................................................................................162

4.69 Higher Pitches and Dynamic Contrast in Final Verse of “Il mistero.”....................163

4.70 Accompaniment Representing Undercurrent of Emotion in “Il mistero.”...............165

4.71 Expansive Range of Vocal Phrases in “Salce, salce” in Otello.............................166

4.72 Expansive Range of Vocal Phrases in “Il mistero.”...............................................167

4.73 Repeated E♭4 in Melody of “Ave Maria” from Otello.............................................168

4.74 Repeated E♭4 in Melody in “Il mistero.”................................................................168

4.75 Dramatic Ending of “Il mistero.”............................................................................171

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4.76 Beginning Melody and Text of “Brindisi” Version 1..............................................173

4.77 Sostenuto Section of “Brindisi” Version 1.............................................................174

4.78 Melodic Transition into Refrain of “Brindisi” Version 1..........................................174

4.79 Accents on the Off-Beat in “Brindisi” Version 1....................................................176

4.80 Change in Accompaniment in “Brindisi” Version 1...............................................177

4.81 Accompaniment During D Section of “Brindisi” Version 1....................................178

4.82 Leap Filled-In at Vocal Beginning of “Brindisi” Version 1......................................179

4.83 Leap Filled-In at Vocal Beginning of “Brindisi” Version 2......................................179

4.84 Leap Filled-In at Vocal Beginning of “Libiamo” from La traviata...........................179

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4.85 Long Descending Passage in “Brindisi” Version 1................................................181
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4.86 Accompaniment Doubling the Vocal Line in “Brindisi” Version 2..........................187

4.87 Eighth-Note Chordal Pattern of Accompaniment in “Brindisi” Version 2...............187

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4.88 Accompaniment in D Section in “Brindisi” Version 2............................................188

4.89 Slowly Descending Melody in “Brindisi” Version 1................................................189

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4.90 Slowly Descending Melody in “Brindisi” Version 2................................................190

4.91 Variety of Vocal Markings in “Brindisi” Version 2..................................................192

4.92 Rhythmic Change in the Melody in “Il poveretto.”.................................................195

4.93 Simple Accompaniment of “Il poveretto.”..............................................................196

4.94 Energetic Step-Like Rhythmic Pattern in Accompaniment

of “Il poveretto.”..................................................................................................197

4.95 Extreme Low Bass Pitches in the Accompaniment in “Il poveretto.”....................198

4.96 Pitches in Vocal Passaggio in “Il poveretto.”........................................................200

4.97 Vocally Challenging Section of “L’abandonnée.”..................................................203

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4.98 Increased Energy in Accompaniment in “L’abandonnée.”....................................205

4.99 Comparable Melody in “Un di felice” from La traviata...........................................206

4.100 Comparable Melody at the Beginning of “L’abandonnée.”.................................206

4.101 Expansive Vocal Range and Tessitura of “L’abandonnée.”................................207

4.102 Simple Rhythms in Melody in “Al tuo bambino.”.................................................210

4.103 Accompaniment of “Al tuo bambino.”..................................................................211

4.104 Change in Rhythmic Grouping within Accompaniment in “Al tuo bambino.”......211

4.105 Repeated B4 Ascending to Repeated C5 in “Sgombra, o gentil.”......................215

4.106 Repeated Pitch B in Accompaniment and Melody in “Sgombra, o gentil.”.........216

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4.107 Tremolos in B Section of Accompaniment of “Sgombra, o gentil.”.....................217
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4.108 Repeated Eighth-Note Chordal Patterns in Section A in “Sgombra, o gentil.”...217

4.109 Eighth-Note Tremolos in B Section of “Sgombra, o gentil.”...............................218

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4.110 The Dynamic Vocal Line in the B Section of “Sgombra, o gentil.”.....................219

4.111 Repeated A4 in Melody in “La preghiera del poeta.”..........................................222

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4.112 Ethereal Effect of Rolled Chords in Accompaniment

and Ascending Pick-Up Notes in “La preghiera del poeta.”...............................223

4.113 Eighth-Note Text Setting in “Il brigidino.”............................................................227

4.114 Alternating Contrast and Doubling of Melody

and Accompaniment in “Il brigidino.”..................................................................228

4.115 Tenuti, Crescendo, and Decrescendo Adding Energy to the Accompaniment

of “Il brigidino.”...................................................................................................228

4.116 Ascending Accompaniment and Descending Vocal Lines in “Il brigidino.”.........229

4.117 Difficult Text Phrases in “Il brigidino.”.................................................................230

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4.118 Variety of Dynamic Marks in the Accompaniment of ‘Stornello.”........................234

4.119 Phrases of Repeated Pitches in “Stornello.”.......................................................236

4.120 Descending Melody During Title Phrase of “Pietà, Signor.”...............................240

4.121 Descending Phrase to Convey God Descending to Earth in “Pietà, Signor.”.....240

4.122 Rhythm of Repeated Phrase in “Pietà, Signor.”..................................................241

4.123 Treble Clef Tremolos and Bass Clef Contrasting Phrase in

Accompaniment of “Pietà, Signor.”....................................................................242

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 CHAPTER I

INTRODUCTION

Teachers of singing have the challenging and rewarding task of leading singers

of all ages through the trial-and-error process of learning breath support, resonance,

posture, expression of text, diction, and many other aspects of performance. Perhaps

the most problematic aspect of teaching voice is defining and addressing the issues of

an individual’s voice, taking into consideration age, natural talent, ambition, confidence,

and mental, emotional, and physical maturity. In addition to all these, a voice instructor

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must attempt to engage the student, inspire and encourage hard work, and harness the

student’s self-motivation for improvement. The instructor must then choose repertoire
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that will display the singer’s best vocal abilities and provide challenges for the student

and teacher to tackle together. The youngest students tend to learn the most basic of
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skills through folk tunes or songs they know. After much study and time, the student

becomes a mature, professional musician, and the mission to find new repertoire
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becomes exciting for the teacher and singer. Pieces can be chosen based on personal

taste, best vocal skills and abilities, or Fach. However, there is a time between the

beginning lessons and the mature level of vocal study; this time can be one of

frustration, discovery, and great growth for the singer and teacher when the right

repertoire reinforces the technique.

Voice instructors working with young singers who are no longer beginners have

the interesting and sometimes difficult task of assigning repertoire that is intended to

showcase the student’s tonal color and vocal range, challenge the student’s

musicianship skills, and act as both a learning tool and a performance piece for the
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student. When first working with a student, instructors often assign simple art songs to

meet these goals. Art songs are short vocal pieces with keyboard accompaniment

(Dickinson, Hitchcock, & Clifton, n.d.); they have been written in a variety of languages,

musical eras, and forms, and used by voice teachers to teach students many skills from

basic breath support to advanced performance techniques. They tell a story or express

an idea or emotion in just a few pages. These art songs provide students with a platform

to learn and showcase musicianship skills, vocal technique, and expression of text.

As students age and mature, teachers often assign longer and more technically

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complex opera and oratorio arias, but they must be careful not to assign a piece that is

too advanced for the student’s vocal maturity (Boytim, 2003). A student’s transition from
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art songs to opera or oratorio arias can be unnerving and vocally taxing for less-mature

singers. It is the job of the voice instructor to help the student navigate this transition. A
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song that bridges that transition from light to heavy repertoire can help maintain healthy

singing as students explore range, expression, and difficult passages. Verdi’s art songs
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can serve as this technical bridge with their vocal lines and text settings that require

healthy vocal technique and allow students to explore expressive communication.

Giuseppe Verdi, 1813-1901, composed more than 20 large-scale, dramatic

operas, including Aïda, La traviata, and Faust. Verdi’s list of compositions also includes

27 art songs: two sets of six songs, published in 1838 and 1845, and a number of other

songs published individually. Verdi’s operas have been the subject of books, articles,

presentations, and performance for many years, but not so his art songs. While

researchers in recent years have occasionally mentioned these songs in their

publications (Budden, 2008; Marvin, 2004), little has been written about the value of
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these art songs for teaching and performing. Some musicologists claim that their

compositional style lacks the maturity that would come later in Verdi’s career (Kimball,

2005). In short, these art songs have been seen as inconsequential (Kagen, 1968).

On closer inspection, Verdi’s art songs offer opportunities for voice instructors to

challenge their students in breath management, consistency of tone throughout the

vocal range, and greater use and strength of the middle voice. Verdi’s dramatic setting

of the texts can be explored through careful melodic, harmonic, and rhythmic analysis to

uncover opportunities for students to learn skills of expressive communication.

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Additionally, several of the art songs share rhythmic, melodic, and/or dramatic

characteristics with Verdi’s arias. Verdi often paid the same attention to detail and
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expression in his art songs that he employed in writing his arias. The similarities

between his art songs and arias also support the use of the art songs as a stepping-
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stone from traditional art songs to Verdi arias. After learning a Verdi art song, a student

should be able to approach the similar technical needs of a Verdi aria with relative ease.
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Purpose of the Project

The purpose of this project is to highlight the value of Verdi’s art songs for

teaching and singing through an analytical and pedagogical examination of each piece

and the development of a guide for teachers of singing. Moreover, recommendations

are given for teaching the art songs to singers, and suggested practices are provided for

students and professional singers performing the pieces individually or as a set. A guide

consisting of an entry for each piece efficiently and effectively delivers the basic and

noteworthy elements. The pedagogical discussion focuses on the beneficial vocal

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aspects of each song and the ways to approach teaching these aspects, as well as

recommendations for incorporating these pieces into a student’s repertoire. A study of

performance practices of these songs includes examination of the expressive text

settings and recommendations for inclusion of these songs in recitals or concerts.

The vast majority of research on Verdi’s compositional value is focused on his

operas. However, Verdi’s opera arias are often sung by mature singers with large

voices capable of singing pieces with extensive ranges accompanied by a full orchestra.

Teachers and singers may find that Verdi’s arias are too long, too difficult, and too

heavy for students to sing healthily and successfully (Miller, 1993). During Verdi’s

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lifetime, critics commented that he set soprano and bass aria vocal lines too high and
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required his singers to sing full voice for too long (Celletti, 1979). Pedagogues today

carefully refrain from assigning arias for the dramatic voice type (i.e., works by Verdi,
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Wagner, and other composers of large-scale Romantic opera) to young students and

those not yet vocally mature enough to tackle the challenges of the repertoire (Miller,
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2000).

The challenges when approaching Verdi arias can be simplified and adapted for

younger students by turning to his collection of art songs. These works—shorter, lighter,

and simpler than the arias—offer young singers the opportunity to experience Verdi’s

style in a healthy way. Additionally, the interesting musical elements and text settings of

these songs can add drama and variety to any vocal recital.
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Limitations of the Project

Verdi composed many works in several genres, including choral works and

chamber music for voice(s) and instruments. For the sake of clarity, inclusion, and

definition of style, this project only addresses works composed for solo voice and piano.

This guide introduces voice instructors and singers to Verdi’s art songs and

recommend ways to add these pieces to a singer’s repertoire. It is important to

recognize that Verdi’s art songs may not be the most effective choice for every voice

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type or student. The recommendations of this study apply to students and professional

singers with varying levels of experience but do not suggest that working with one art
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song will guarantee any singer success in singing one of Verdi’s arias. The information

and recommendations provided are intended to guide a student’s growth, eventually

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leading to the ability to approach more difficult repertoire over time with ease.
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Definition of Terms

The following terms are defined as they are used in the description of vocal pedagogy

and musical analysis in the following chapters.

1. Abdominal Support: In the classical tradition, the abdominal muscular

antagonism required to manage breath flow is called support or resistance

(Miller, 1986).

2. Aria: A solo vocal piece from an opera or oratorio (Miller, 1993).

3. Chest Voice: Vocal register resulting when the vocal folds are thick and fully

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closed during vibration. The tone created is often rich with harmonic overtones

and full due to the intensity and fullness of contact between the folds (McKinney,

1994).
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4. Classic Technique: Vocal training methods used for teaching singers torso
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breathing, lowered larynx while singing, and use of resonance to amplify sound

(Bunch, 1994; David and LaTour, 2012; McKinney, 1994; Miller, 1986; Ware,
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1998). Many pedagogues teaching classical technique believe healthy singing

involves a solid breath management and support system and an understanding

of vocal resonance (Miller, 1993; Bunch, 1997; Ware, 1998; Davids & LaTour,

2012; McKinney, 1994). This technique is often called classical, but it is not

directly associated with the Classical music era of the 18th and 19th centuries

(Miller, 1993).

5. Dramatic: The characteristic of songs requiring considerable use of the heavy

vocal mechanism in addition to sufficient breath support, expression, and

dynamics to perform a piece of music (Miller, 2000). Although an inherent

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connection exists between characteristics of voice and label of voice type, for the

purposes of this project, the term dramatic does not directly refer to the Fach

categories of dramatic soprano, mezzo-soprano, etc. Students mentioned in this

guide would be too young and vocally immature to be placed in this Fach.

6. Fach System: The classification of voice types in German opera houses.

Examples are spinto soprano, dramatic mezzo soprano, and lyric tenor (Kennedy

& Bourne Kennedy, 2012a).

7. Falsetto and Whistle Register: Falsetto in men and whistle register in women are

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identified by several different names, but usually refer to the highest notes of the

vocal range. The register is created when the vocal folds are stretched quite thin,
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only the edges of the vocal folds vibrate against one another and only a portion

of the length of the folds touch, leaving the other end of the folds open during
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phonation. The tone created is often clear and bright, but may be breathy and

unsupported or shrill in young singers (McKinney, 1994).

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8. Head Voice: Vocal register resulting when the vocal folds are stretched thinner

than in the chest voice and only the edges of the folds meet during vibration. The

tone created has more high overtones and a lighter quality (McKinney, 1994).

9. Heavy: Description of the vocal tone created by singing with the chest register in

a higher range than its normal boundary and mixing with the head register,

creating more low frequency resonance (Davids & LaTour, 2012; Miller, 2000).

10. Larynx: The organ at the top of the trachea and below the pharynx that allows

passage of air to the lungs, stops food particles from entering the trachea, and

houses the vocal folds used in speaking and singing (Ware, 1998).
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11. Light: Description of the vocal tone created by singing in head register with little

employment of the chest register, resulting in more high frequency resonance

(Davids & LaTour, 2012; Miller, 2000).

12. Mixed Voice: The vocal register created when a vocal tone shares qualities with

chest voice and head voice, with some stretching of the vocal folds, but more of

the folds meeting one another in vibration than in the head voice. The tone

produced in mixed voice can have the intensity of the chest voice and the

resonance of the head voice (Ware, 1998).

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13. Pharynx (Pharyngeal): Of or pertaining to the throat above the larynx.

14. Registers: Portions of the vocal range categorized by which laryngeal muscles
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are being used to create vocal tone and how much of the vocal folds are touching

during vibration (McKinney, 1994).

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15. Resonance: The amplification of vocal tone through the sympathetic vibration of

vocal frequencies within the vocal tract, facial muscles, cartilages, and cavities
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(McKinney, 1994).

16. Tessitura: The part of the vocal range that receives the most use in a given song

(McKinney, 1994).

17. Vocal Range: The span between the lowest pitch and the highest pitch in the

vocal line (McKinney, 1994).

18. Weight: Description of the vocal tone created by employing different amounts of

chest and/or head registers. The two vocal weights discussed in this document

are heavy and light.

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Significance of the Project

Repertoire guides for the beginning student often focus on the most basic of

pedagogical principles and, therefore, include pieces that are simple enough for the

least experienced student to perform. Inevitably, this focus must ignore Verdi’s art

songs due to their difficulty and the lack of common knowledge about these pieces.

Operatic repertoire guides for the more experienced singer frequently highlight arias in

Verdi’s operas for their rhythmic intensity, challenging vocal lines, and the expressive

communication of text. The gap between the repertoire of beginning singers and

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operatic vocalists is different for each singer and requires the assistance of a skilled

instructor and use of appropriate repertoire to traverse.

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This dissertation is unique in that it is designed to highlight one composer’s

works and demonstrate the value of these pieces for assisting the singer and teacher as
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the transition from beginner to experienced singer takes place. Through discussion of

the musical and technical aspects of the art songs, voice instructors and singers of all
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experience levels will be made aware of the repertoire and its beneficial elements.

Through the pedagogical and performance practices examination, student and teacher

will be given recommendations for working with the repertoire. This guide is a valuable

resource for a voice instructor seeking to lead a student through an important vocal

transition. In addition to the pedagogical benefits provided to students, this guide brings

to light the value of Verdi’s relatively unknown art songs for performance by professional

singers.