Le Mal en 30 dissertations corrigées : Prépas scientifiques (Impulsion) (French Edition)

Mais elle devra en payer le prix: Annie semble faire partie de nos connaissances: Le vocabulaire est explicite: Plus question de voyage en amoureux vers Bayreuth: Annie est la doublure fictive de Colette. Colette chez elle, au Palais Royal Paris. Vous traiterez ensuite un des trois sujets suivants au choix 16 points: Devenu libre, il est devenu injuste envers sa compagne.

Dieu et les hommes seraient ici en cause. Dans trente-six heures, il sera ici, et moi… Je prends ce soir le rapide de Paris-Carlsbad, qui nous conduisit jadis vers Bayreuth. Inventer une parole de femme. Qui parle au Capitole? Qui parle au temple? Les hommes ont la parole.

Inventer une parole qui ne soit pas oppressive. Support de cours BTS. Tout semble pourtant comme avant: Lydie Pearl Corps, sexe et art: Corps sujet, corps objet. Devenu signe, illusion cf. En quoi le corps humain est-il un instrument de contestation? Grotte de Lascaux Montignac, Dordogne. It discusses constructions of the human body in time and our writing of prehistory as a political act.

Document 1 Louise Bourgeois , sans titre: Document 2 Babette Rothschild , Le Corps se souvient: Il ne faut pas en parler. Rappel de la consigne: Attribution Non-Commercial No Derivatives. En premier lieu, la pratique des langues. Mais quelle somme de philosophie y trouve-t-on en se jouant!

Je veux que tu apprennes les langues parfaitement. Que rien ne te soit inconnu. Des premiers automates doc. It complements the traditional biological sciences concerned with the analysis of living organisms by attempting to synthesize life-like behaviors within computers and other artificial media.

Chaque bout de doigt est garni de peau, pour imiter la mollesse du doigt naturel, afin de pouvoir boucher le trou exactement. Et comme lord Ewald continuait de le regarder en silence: La mienne en a tressailli, sur ma parole! La chair se fane et vieillit: Tout, enfin, dans ces abominables masques, horripile et fait honte. Ils en posent aussi en neurobiologie. Le but ultime de ces machines est de pouvoir nous assister. Autre question, celui du cerveau social, celui des neurones miroirs. Pour aller plus loin…. Flammarion, Paris , page Mais aussi toutes nos passions.

Michel Foucault, op. Lille, Palais des Beaux-Arts. Les signes physiques aussi changent de sens. Claude Blanckaert sous la dir. Il est complet, du moins me semble-t-il. Je ressens donc mon corps et je le vois. La connaissance ne suffit pas. Presses Universitaires de Nancy, pages Howard Miller en Auteurs et compositeurs francophones. Leny Escudero ; musique: Thierry Fervant Mauley, dit Album: Faudrait le demander aux morts.

Mais maintenant je puis le dire: Roses , Labels: Pour vous connecter, cliquez sur le logo ou sur ce lien: Saison 8 Classe de Seconde 13 promotion Vous pouvez retrouver tous les textes de la saison 8 en cliquant sur les liens suivants:. Saison 7 Classe de Seconde 4 promotion Saison 6 Seconde 1 et Seconde 8 promotion Saison 5 Seconde 3 et Seconde 11 promotion Saison 4 Seconde 7 et Seconde 9 promotion Saison 3 Seconde 1 et Seconde 12 promotion Hommage rendu par Najat Vallaud-Belkacem aux Brume se hissant dans les voiles par Lilibeth J.

Le Son de la Nuit par Louise C. Bruno Rigolt — — Voyage avec le ciel par Eva L. BR — — La mer est une clef par Louise C. Peut-on justifier la violence? Que vous inspire cette citation de Shakespeare: Selon vous, faudrait-il que les robots un jour aient des droits? Pour impliquer le destinataire, on exploite les indices personnels: Hyde, Frankenstein, Big Brother…. Pour voyager, faut-il partir loin? Ce rappel est essentiel: Vous commenterez le texte de Colette texte C. Babette Rothschild, Le Corps se souvient: Les Corps et le temps , Paris Flammarion Tome 2 — Arts, sociologie, anthropologie.

Michel de Montaigne, Essais , Livre I, chapitre Some of them confess to dislike their conservatory- trained voice tosuch a degree that they stopped singing altogether, taking up choir conducting, forinstance. My practical experience of singing in the present- day manner helped me as ateacher, enabling me to demonstrate the striking difference in sound production fromthe historical method.

Again my gift for imitation proved a great asset: I could now12 Introductiondemonstrate to my pupils their defective efforts, thereby speeding up their improve-ment. Mancini mentions perfect imitation of and demonstration to the pupil as beingamong the requirements of a teacher of singing.

It is truly exciting to bring their voices out,preparing them to join a choir or even just to sing along in church. Regular experiencewith the historical method over the last ten years has convinced me that it gives pupilswho seem hopeless a better chance to overcome their handicaps than any other method.

One of the most touching reactions I received: I was in the desert and you gave mewater! Another aspect of teaching in the historical method is that singing in this wayalso seems to have a benecial effect on the pupils speaking voice and general health. A number of pupils complained from tired and sore throats as a result from having pro-fessions where much speaking is involved.

They nd that the efcient and hygienic useof the voice for singing can be applied to improve speaking in a similar way. Books written about the teaching of singing over the last years, with a fewnotable exceptions, tend to use highly technical language and concentrate on pseudo- scientic subjects such as sinus- tone production. Moreover, they have a tendency tovagueness on important subjects like, for instance, the attack of the sound and the reg-isters, areas of major importance in the historical method.

Generally they approach theteaching of singing through subjective sensations. In the books of the old masters of singing, we nd their starting point unanimouslyfocused on the mechanical laws of the human instrument itself and never on subjec-tive sensations. Manuel Garcia does not mention the subjective sensations a singermight have but he unravels the mystery of human sound production by explaining thenecessary functions of the singing voice comprehensively and exactly. An Outline of the Working MethodIn the course of this book we shall follow the path of the natural art of singingthe Italian School teaches: The most importantstep in vocal production of any kind, the right attack leads straightaway into true legatoIntroduction 13singing performed on ah.

This is practiced long enough with sustained tones andagility exercises supported by good breathing the air compressor to become secondnature. Gradually we learn to understand the function of the registers, resonance andfocus of the voice the resonator. Different vowels can then be introduced and lastlyconsonants, leading to pronunciation of words in singing the articulator and that leadsto expression and interpretation. If the groundwork has been done well, the last twowill bring out all the potential talent with which the singer has been endowed to com-municate with an audience.

Each chapter will have practical hints at the end, encour-aging and helping the aspiring singer to nd his way in the historical way of singing. Practical experience with the positive effects on the health of the singer will be men-tioned. It has proved to be unavoidable that certain aspects of the historical way ofsinging should be mentioned repeatedly to ease the readers access to the historicalapproach of developing the voice. Put your trust in the teachings of the old masters and persevere like I did; you willbe richly rewarded with the bliss of singing with your own unique voice and exclaim: What happiness, what delight to sing well!

And then all those people who hang onyour lips, who listen to your songs as if it were divine, who are electried andenchanted You sway them all. They have no practical knowledge and experience of the very thing they so earnestlyreject. As a consequence they can nd no access to the teachings of the masters of theOld Italian School if they wished to do so. The dogmas of the Old Italian School havebeen distorted and adapted to suit the ndings of doctors and therapists who accumu-lated layers of scientic facts which contradicted and gradually obliterated the naturallaws of phonation on which the foundations of the Old Method have been built.

To understand the importance of the attack of the voice by means of the coup deglotte or stroke of the glottis, as Manuel Garcia described the mechanical action ofthe larynx, the statements of the old masters and historical singers as well as theirreviewers will be presented. Composers who composed for the historical singers will bequoted also. Room will be given to modern writers and adversaries of the coup de glotteor rather what they presumed as being the coup de glotte that in the teaching of char-latans had quickly become its own enemy. By approaching the subject from variousangles that all lead to the same facts, it will become clear to the reader that the emissionof voice in the historical manner can only be obtained through the right attack or coupde glotte.

Practical hints and comments will accompany the statements mentioned above. The Melba attack was little short of marvellous [writes Henderson]. Melba indeed has no attack. She opened her mouth and atone was in existence. It began without any betrayal of breathing; it simply was there. These words from NellieMelba3 of whom Henderson mentioned that she had no attack illustrate the pre-emi-nence of the Old Italian method perfectly.

The Old Italian School implied that our natural voice should be emitted throughmeans of the mechanism of physical anatomical laws automatically and efciently. Likeall other bones and muscles in our body, every part of our larynx and pharynx has adenite purpose so that it follows that if certain parts are neglected or insufcientlyused, the voice can never sound as it is meant to sound and that goes for singing as wellas speaking.

Charles Lunn5 gives us a ne illustration of this fact when he says that anarm out of its socket cannot be put back by practicing the piano, but a weak arm in itssocket can be strengthened by practicing carefully and diligently. Unless the right mechanical condition is established for theemission of a beautiful singing sound, that sound can never be attained. We cannotinduce our voice to emit beautiful singing sounds unless we obey the anatomical lawsof nature to which our body is subject.

The voice organs must be set right before wecan rightly play upon them, but the development of their rightly used muscles is depend-ent upon time and work. There is no shortcut to beautiful singing,just as there is no shortcut to playing the violin or the piano. Any means other than the natural and spontaneous means of emission of the voiceis volitional, induced by our will.

The fundamental difference between the Old ItalianSchool of singing and all other methods lies in the fact that the historical voice is abyproduct of a spontaneous and mechanical action of the body. It is not just the willto sing that initially produces the historical voice but a mechanical action that everyhuman being sets in motion straight after birth.

The perfection of the infants cry mightbe gradually lost when we grow up through the acquired way of speech that varies withlanguage, dialect, class and education. The historical art of singing is founded on themechanical action of the larynx or vibrator that brings forth the vocal sound completelyindependent of the articulator and resonator. The importance of these facts will beexplained in detail in the course of the book. For now we will concentrate on themechanical action itself called the attack.

A soft or voiced attack of the singing voice as it is practiced nowadays will invari-ably produce a voice without a proper focus, the reason being that a soft attack goeshand in hand with expiratory singing with the breath owing out. As a consequenceof the soft attack, the remedy is then sought in forcing the voice into places of reso-nance where it would have traveled and come to rest focus of its own accord after arm laryngeal attack.

Expiratory singing is the result of singing in the direction of thesound and is always accompanied by breathiness. The voice sounds as if it has a veilplaced in front of it, which can be of varying degrees of thickness: This may sound like a par-adox but experience proves it to be true. Remember what Henderson said about Melbasattack; it becomes clear that she realized to perfection what the Old Italian Schoolteaches: It requires regular practice but the reward is guaranteed.

The Coup de glotteTo disperse the thick clouds of misunderstanding that have gathered around theterm le coup de glotte or the stroke of the glottis, a thorough explanation to discoverthe truth of the term is necessary. Manuel Garcia coined the term coup de glotte, giv-ing us a clear and precise description of the action of the attack that has since sufferedmuch undeserved abuse.

If you start a singing tone with Melbas good attack, you havethen executed what Garcia called coup de glotte, which is no more than the precise andaccurate start of the tone, by means of the rened laryngeal mechanism we all possess,that produces a perfect closure of the glottis. From my researches a proper coup de glotteor a rm attack can be easily produced following the instructions of Kelsey, based onGarcias accurate description sec et vigoureux of the phenomenon. Sec means withoutbreathiness and vigoureux is rm. Melbas legendary teacher, Mathilde Marchesi, herself a pupil of Garcia, and whogave her the nishing touch Melba had had seven years of Italian School teaching fromthe Italian Cecchi in Australia , however, still uses the term coup de glotte to describethe right attack, that she calls a mechanical action produced by the preparation of theglottis to form a vowel.

The vowel Ah is the preferred vowel. She stresses the fact thatthe stroke of the glottis is a normal function of the vocal organ, and that from thatsame source came our rst cry as a baby. In speaking, our vowels are produced by thisability of the stroke of the glottis. Above the exercise for the attack of the voice she writes that the glottis has to becontracted before emitting the vowel Ah. The coup de glotte, or exact correspondence between the arrival of air at thelarynx and the adjustment of the cords to receive it is a point that cannot be too stronglyinsisted upon The sole guide is the muscular sense.

This is the feeling by which our consciousness is made aware of1The Attack 17the movements and position of our limbs. It is different from the sense of touch, whichresides in the skin. There should be no preconceived vocal sound, color or beautiful effectin our mind when we wish to sing in the historical manner. To put it even stronger: The baby does not employ its will to cry consciously.

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When we speak, something starts our voice or else we would not be able to speak. One of the main causes of misunderstanding is the fact that the listener cannothear the coup de glotte or stroke of the glottis as such muscular sense as described byMackenzie. He just hears the perfect singing tone emerge from the singers throat, ifthat singer employs it in the proper manner, like, for instance, Melba and Tetrazzini,16and with them all the historical singers we can listen to on the recordings now avail-able on CDs.

The singer himself, however, has learned to trust his muscular sense much morethan he can trust his ears, for his ears would only deceive him. The coup de glotte is apurely physical act, executed at the bottom of the throat on top of the breastbone, andis utterly and completely independent of the articulator and resonator. It is possible todevelop a healthy and beautiful singing voice that sounds as fresh today as the voicesdid hundreds of years ago but only with long and arduous practice on the managementof this tone- producing act.

Only when the singing voice on the vowel ah is settledand has attained exibility through agility exercises can other vowels be introduced,followed by words, preferably Italian. Charles Lunn describes the vowel Ah withoutthe aspirate as follows: This sound is solely physical. All other sounds are metaphys-ical; that is, a change of form of the parts takes place in response to the dictates of thewill. Because that is the vowel which, more than all the oth-ers, opens the throat, and so when the pupil can vocalize with ease on A, he will ndno difculty in doing the same on the other vowels.

It should be formed in thebottom of the throat, care, however, being taken that it does not change into O We see that the old masters had goodreasons to choose the vowel ah for developing the voice in a natural way. We are fascinated by the different voices he can produce; his voice soundsextremely sonorous and well focused, so the shaky old womans voice he puts on is allthe more humorous when we realize his own age.

The diction is very clear and the over-all impression is one of complete vocal mastery. In one of the lectures by John Mew-burn Levien on Santley we read: I may say that Santley used the Coup de Glotte i. This bit of technique has been widely calledin question of late years, and I thought I would just record Santleys practice in thematter.

He was a singer himselfand a professor of singing at the Guildhall School of Music, and he was a good friendof both Santley and Manuel Garcia, whose family biography he wrote.

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It is very conspicuous that music critics of bygone days usually make a point ofmentioning the attack of the singer, like that of Marcella Sembrich,22 pupil of bothLampertis,23 with bell- like purity of her attack of the tone. Crooning or Breathy AttackWe get a good impression how different the approach to singing is at the end ofthe 20th century as regards the attack of the voice in the interesting book of JeromeHines. What does an open throat mean to you?

What about breath support? The attack of the voice is not included as a ques-tion. It is only mentioned in passing with one singer, Cornell MacNeil. It is notan attack on the cords, almost glottal but a relaxed attack, started with that littlebreath of air, usually at the start of a phrase. For instance, in a performance of Liszts Via Crucis when the bari-tone sang for everyone to hear clearly Christs words at the cross as follows: On the recording made from the radio the H comesthrough very well, for millions of listeners to enjoy.

A rm glottal attack would havebrought off the outcry of Christ in a more convincing manner. The Attack of Jenny LindWe have ample written evidence that the historical singers who sang before theinvention of the gramophone started their tones with a perfect attack or stroke of theglottis. Jenny Lind,29 for instance, clearly describes singing several notes as striking,adding that it is binding at the same time. Once the notesounds it has to be seamlessly connected, binding with the ones above or below it sothat the phrase is continuous.

She stresses that the1The Attack 19larynx has to be prepared for the work to come. Striking and binding are well chosenexpressions and will be conrmed by the singer who sings in the historical manner. Themechanical action of the larynx might be described as a stroke and the continuity ofthe action might be called binding. Her own solfeggi are most effective for the sopranovoice and practiced daily will keep the singers voice in perfect condition. In the biography of Emma Thursby32 we read the following advice in one of theletters of her teacher Hermine Rudersdorff: I have written you a few exercises, whichshall be your daily half hour practice, beginning always with one exercise of strokes.

Jenny Linds poignant remark, It lies in the exibility of the lar-ynx, and must therefore be practiced,34 is to be taken very seriously indeed. Regularagility exercises are an absolute must if we wish to sing in the historical manner andwill unfailingly facilitate a good attack. Confusion Concerning the Coup de glotteLet us now take a look at Reynaldo Hahns fascinating speeches on singing35 andobserve the complete bewilderment in on the issue of the coup de glotte. Hahn men-tions two methods to produce vocal sound. He gives us some good reasons why themanner of singing on the outow of breath expiratory singing has enough disadvan-tages to be rejected by many teachers of his day.

And then he comes tothe other method of sound production [which] is the stroke of the glottis. Ah, the stroke ofthe glottis! What a lot of talk it has provoked! Its most illustrious advocate is MonsieurFaure. It is something verydifcult to explain Faure has never tired of advocating thestroke of the glottis.

He extols its merits and asserts that the glottal jolt is our only hope ofsalvation. I have before me a treatise by one of the great masters of singing J. Faure , who recom-mends the glottal attack but who, when he himself sings, does his best to avoid the practice.

Faure has always attacked the tone with a great deal of clarity and has always sungvery accurately without ever having recourse to the glottal stroke. It can be seen how hotly the stroke of the glottis was debated and at the same timeobtain a clear view of the source of all the misunderstanding. An examination of LaVoix et le Chant of J. Faure shows pages and pages full of little arrows printed under-neath the notes of the exercises, the little arrow standing for a coup de glotte. The difculty was and is that a coup de glotte is not actually heard as such by thelistener, as pointed out before and as evidenced in the comment on Faures singing.

Knowing this, the debate becomes understandable and the adversaries of the coup20 The Old Italian School of Singingde glotte who did not understand it themselves have succeeded in abolishing it fromteaching, for nowadays it is considered a most dangerous practice that must eventuallylead to the ruin of the voice. Kelsey realized the paramount importance of an accuratecoup de glotte, having been taught the correct method by Journet. He says that theattack of the sound and the control of the breath are the two foundations on which theart of singing is built.

The second follows the rst for it depends largely on the rst. The singer has two ways to emit a sound: Partial closure means with breath escaping, leading with the breath, complete clo-sure can only be a stroke of the glottis leading with the larynx, resulting in the preciseand accurate start of the note. Kelsey stresses this fact, There is no single act of vocaltechnique more vital, or of greater importance, than the gesture of the larynx whichthe true singer employs in order to launch the sound. The rst act in breath controlis executed by the perfect closure of the glottis. Back to Reynaldo Hahn, for he heard J.

Faure sing when the singer was over 70and he was deeply impressed by the quality of his voice. If the glottal stroke played arole in his singing, well then, I am all for it. Indeed, I must admit, I do not believethat one can sing with no recourse whatsoever to the stroke of the glottis, and eventhose who profess to avoid it use it. He heard all the great historical singers of his day and accom-panied many of them, which makes him a competent witness to the evolution in singingmethods at that time. The Wrong Coup de glotteHow then is a wrong coup de glotte produced?

Mary Garden41 describes the processas taught by bad teachers: What is the stroke of the glottis? The lips of the vocal cords in the larynx are pressed togetherso that air becomes compressed behind them and instead of coming out in a steady, unim-peded stream, it causes a kind of explosion. Say the word up in the throat very forcibly andyou will get the right idea.

In her book Mary Gardens Story she advisesthe Italian method to study voice, for according to her with that method one can acquirethe mastery to sing in any language. Nellie Melba did notcall her own perfect attack coup de glotte understandably because already in her daysthe term was a hotly disputed item and tragically misunderstood. She describes the rightcoup de glotte as follows: There must be no breathiness in the attack.

Nor will therebe, if the ribs have been held still until after the attack. There must be no jerk or click1The Attack 21in the attack. She continues with the description of the incorrect coup de glotte as men-tioned above by Mary Garden: This is known as the Coup de Glotte, and has ruinedmany voices. It is usually caused by allowing too much breath to collect behind thevocal chords, before releasing them to begin to sing.

Both Mary Garden and Nellie Melba had the great advantage to have Scottish astheir mother tongue, a language with a brisk attack of the sound producing sonorousspeaking and singing voices. The same goes for the legendary singer Gracie Fields45 whospoke and sung with the natural hard attack of the Lancashire-born girl.

Another description of a wrong coup de glotte is presented in Percy Judds little book: This must not be preceded by the sound of the breath or initiated by the glottal stop, theconsonantal sound heard with accented initial vowels in German and in some English dialectsin place of t in water, bottle, etc. Many writers have mistaken the glottal stop for the coup deglotte of Manuel Garcia and have criticized this accordingly.

Nothing could resemble less Gar-cias ideal of attack.

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Faure gives a clear explanation of the advantages and disadvantages of the twoforms of attack. He completely agrees with Kelsey on the two possible ways open tothe singer to start the sound: Expiratory singing causes a great loss of air and isnever instantaneous, so the singer appears to be slightly late and in many cases evenslurs up to the note. If we compare the same aria sung by a modern singer and a his-torical one, the difference in accuracy will become clear. Before attacking the sound with the coup de glotte, the larynx has to be closed instantly afterintroducing a certain quantity of air into the lungs, and good care has to be taken not to letany air escape in the emission of the chosen sound.

It is the pinching of the glottis that oneapplies at this moment that should give to that note the explosive character called: The stroke of the glottis is for the voice what the touch of the nger is forthe piano; according to the heaviness or lightness of the touch, the sound is more intense orweaker, but the attack suffers no change of intensity So to begin with, exercise this impor-tant job by a limitless number of attacks, short and always equal, before applying yourself toprolonging the sound indenitely.

And how right he is in saying that you have to get the attack right before youcan apply yourself to keep the ensuing sound going. He knows how the voice benetsby performing the stroke of the glottis in the right manner; the laryngeal muscles reactvery quickly to regular practice and the singer will be able to perform the coup de glotteas a skillfully executed gesture into the permanent pressure necessary for historical voiceproduction. The rst time I heard Adelina Patti sing, I sat in the last row of the gallery, and the diva onthe stage looked so remote and small I thought I should not hear her when she sang.

It wasmusic that seemed to come from a different world, so wonderful it was and so simple; but Ishall never forget her rst staccato notes. The bell- like tone, with its peculiar carrying powerwas so intense that I, with several others, looked about to see if some one nearer to us wassinging. This illustrates how the staccato of the human voice, in regard to balance and carry-ing power, represents the minimum effort and the maximum result.

Faure instructs the singer soprano and tenor to exe-cute staccato exercises starting on G1 altos and bass voices on C1 , repeating eightstaccatos and then sustaining the ninth without changing or darkening the tone, con-tinuing the exercise by half- step intervals to G2. With this exercise the singer realizeshow easy it is to achieve a good singing tone, particularly a soft one, and how to holdon to it without deforming it, feeling the point of control necessary for good tone pro-duction.

The teacher who employs the coup de glotte will be most aware that at the end ofa day of teaching it, his own voice is sonorous and fresh. Teaching expiratory singingwill most likely tire the voice and require a recovery period. On a personal note, hav-ing done both, I can vouch for the veracity of this statement. The Coup de glotte as Therapy for Damaged Vocal CordsIt is common knowledge to laryngologists and speech therapists that the vocalcords of patients who have lost the power of speech for physical rather than psycho-logical reasons can be brought into full action again by shock and cough exercises.

In a series of lectures given at a congress in the Netherlands, one of the lecturersadvocated for the treatment of this problem using a hard attack that we would take tomean a good voiceless coup de glotte, coughing and staccato exercises. The very same experts, however, tell you that the singing voice should only bestarted with a soft attack. It is a paradox that healthy vocal cords are strictly forbid-den to do their job properly, whereas injured ones are healed by vigorous attacks.

An eleven- year- old girl came to me suf-fering from permanent hoarseness and nodules on her vocal cords. It turned out thatshe regularly sang along with pop CDs where the singers generally sing too low for lit-tle girls voices. Girls of this age have very high voices and when they force themselvesto sing low they run the risk of damaging the vocal cords.

In the rst lesson I instructedher to imitate me singing higher and higher in the normal soprano range with a briskattack of the sound on the English vowel E. She did this effortlessly. Then I askedher to read aloud to me; she did that in a husky speaking voice with hardly any sound1The Attack 23on the vowels. I demonstrated how she might elongate the vowels and intone her voicehigher, thereby improving her sound. She came to me regularly once a week for half ayear and I had her sing simple, songs vocalizing them.

To my surprise her mother toldme that the checkup at the laryngologist who had previously diagnosed the nodulesnow showed her to be healed. They profess, however, that Nordic larynxes differ from Italianlarynxes and they advise against a glottal stroke implying that this act can only be per-formed by the healthy Italian larynx.

The Glottisschlag, as they understand the act, isreally identical with the abovementioned wrong coup de glotte: In advance of the startof the tone, the breath is being stowed beneath the vocal cords that are pressedtogether. The supposed physical difference between the Nordic and the Italian larynx, how-ever, is not adequately explained.

The writers describe the Nordic larynx as generallypoorly conditioned, but this is not a physical difference. If you listen to the speakingof Germans, then you hear a very hard attack on the vowel- commencing words. TheScandinavian languages are related to German. These countries have produced the mostastounding singers, such as Lind, Flagstad and Bjrling. Husler and Rodd- Marlingproceed to give us, indicated on a diagram of the human head and chest, all the vari-ous places to attack the sound in present- day singing, such as behind the front teeth,at the root of the nose mask , at the forehead, at the soft palate and right on top ofthe head.

They marvel at the fact that the Italians practice the hard attack for the spe-cial reason of perfecting a soft attack. They describe on this diagram attack No. Through this attack, a sonorous, vigorously sounding, so- called open sound quality isachieved as it is preferred and practiced in Italian schools. Husler and Rodd- Marling give comment on the record that accompanies theirbook with examples of voice production illustrating their ndings on the many placesof attacking the sound.

The combination of McCormacks perfect glottal! Attack and AppoggioThe Old Italian School knows the true nature of cause glottal attack, start of thesound and effect acoustic locality where the sound comes to rest or focus. To illus-trate the attack above the breastbone on No. She describes the spot where she attacksthe sound as follows, after giving a concise description of her breathing method theOld Italian School: The physical sensation should rst be an effort on the part of the diaphragm to press the airup against the chest box, then the sensation of a perfectly open throat, and, lastly, the sensa-tion that the air is passing freely into the cavities of the head This feeling of singing againstthe chest with the weight of air pressing up against it is known as breath support, and inItalian we have an even better wordappoggio which is breath prop.

The attack of thesound must come from the appoggio. She sang into the concentration of sound underneath her throat; she sang against orabove the breath. We will take a closer look at her breathing in the next chapter. Herdescription complies perfectly with Mancinis observations: Every scholar must then tirelessly accustom his chestto give forth the voice with naturalness, and to use simply the light action of the fauces [sen-sation of slight surprise]. If the union of these two parts arrives at the required point of per-fection, the voice cannot fail to be clear and melodious. We will thensee how the right attack is connected intimately with the chests power to producesonority of voice.

In giving the chest priority all the old masters like Mancini impliedan attack like Tetrazzini describes. Kelsey conrms Tetrazzinis description as follows: In true singing, so closely co-ordinated are the processes of air- compression, phonation and articulation, that thevoice, whether male or female, high or low, always seems to proceed from some partof the windpipe or the breastbone. Their excellent survey of themodern means of attacking the note encapsulates all the alternative means of attack-1The Attack 25ing the note since the abandonment of the coup de glotte.

For want of understandingthe Old Italian School of Singing, the Germans have developed their own typical schoolof singing. If we read some German translations of old Italian Masters like Mancini,Tosi and Garcia, this lack of understanding of the method of the Old Italian Schoolbecomes evident. Practical ObservationsIt is most important in order to execute the right attack that you start to listen toand watch singers and speakers with what you know now. Keep in mind that we areborn with a healthy larynx.

Listen to a baby crying; the piercing sound it producesnever harms its vocal cords. The piercing sound is the product of automatic action andcontrol of the human instrument, not of volitional action. It is when we grow up thatwe imitate the speech of our parents and most of the damage is done by demands tospeak softly instead of normally. Many pupils confess to this treatment when I ask themhow they had to speak at home.

They speak with a hushed voice and complain thatthey have a small voice, until I ask them to imitate my rm attack and their brightsound startles them. Go shopping on the market and listen to the powerful voicesshouting out their slogans. Listen to workmen shouting from the roof of a house totheir mates in the street below. Clear speech with a rm attack is always more bene-cial to the vocal cords than hushed speech. Blanche Marchesi made the following inter-esting observation in the course of her 23 years of teaching singing in London: As long as I taught in London only I hardly ever met phenomenal voices.

But since I havevisited Manchester once a week I have been confronted with such a wealth of British voicesthat I cry for those long years in which I devoted all my energies to London only, when there,up in Lancashire, Derbyshire, Yorkshire, slumbered the most wonderful instruments evermade by nature. I was called to Derby by special request, and among thirty voices tried twoonly were mediocre, twenty-ve were excellent and three so phenomenal that if they workthey will stir the world.

The Glottal Attack in Speech and SongA glottal attack of the singing voice means nothing more than a precise and accu-rate start of the sound and is only different to a glottal attack of the healthy speakingvoice in degree but not in kind. A glottal attack is unavoidable if we want to render apassionate outcry, be it from love, hate or agony with true expression, in speaking asin singing. Remember what was said of singers like Nellie Melba, Mary Garden and26 The Old Italian School of SingingGracie Fields; they all speak and sing with an equally rm attack thanks to the Scot-tish and Lancashire tongue they were brought up in.

Emma Calv60 speaks a messageto the French people when she is 84 and we can enjoy her rm glottal attack on theAux in her passionate rendering of the famous Marseillaise refrain Aux armescitoyens. The famous accom-panist Ivor Newton63 was deeply impressed, testifying to her vocal art: Gracies energy was amazing, and unlike the singers with whom I normally work, the idea ofsaving or nursing her voice never occurred to her; it was, when she sang a quiet song, a voiceof great beauty, and the strange uses to which she put itthe hoots and yells of derision withwhich she would turn and rend a sentimental old favourite, or the raucous comedy that wasone of her specialtiesseemed unable to harm it.

The Italianway of speaking does not have to be conned to Italy. Everyone can speak more clearlywith a good attack. Before the invention of the microphone, people involved in pub-lic speaking, such as teachers, preachers and politicians, had to speak loudly and clearlyenough in order to be understood. Listen carefully to people around you. What kind of speaking voice do they produce? Is it husky, breathy, squeaky, rasp-ing, rough, wavering, screechy, monotonous, tiring, or clear, sonorous, resounding,booming, metallic, bright, happy, light, warm, melodious, enchanting, pleasant, beau-tiful and haunting?

Surprisingly all these qualities of the speaking voice are in the rst place depend-ent on the attack. Only if a voice is attacked in the right manner on the glottis can itdevelop full sonority and consequently ll the cavities for resonance in the chest, throatand head in a natural way. The vocal cords can never vibrate in their full capacity unlessenabled by the right glottal attack.

Any other means of attack will unfailingly result inan accompanied breath escape, which will then result in various aberrations of sound. These aberrations are fully accepted as normal and fashionable nowadays. To obtaincertain effects like, for instance, a sexy sound, it will be made deliberately husky. Theeffect of establishing an approximation of the glottal lips of such a nature that all thebreath is turned into sound is to pull the vowel right down to the larynx, and this obtainsat speaking pitches, where the tension is low, just as it does in the upper part of thevocal compass, where the tension is high.

The real mouth of the singer oughtto be considered the pharynx. The voice is felt as if itis made at the bottom of the throat and by the proper articulation it receives carryingpower and clarity of enunciationin short, natural and spontaneous forward produc-tion. The forward production of the Old Italian School is the effect of the right attackat the very bottom of the throat where the real mouth of the singer is. The physical1The Attack 27mouth is but a gate or a door through which the sound passes. The two mouths shoulddo their work independently; as soon as one interferes with the other, a conicting sit-uation is set up.

If a pupil gets exercises on the do- re-mi system, that pupil will neverlearn to sing in the true manner. Vocalizes on the vowel ah is the only way to developa continuous vocal sound. All the old masters agree on this point. Many present- day singers confess that they refrain from speaking before a per-formance, in some cases as much as two weeks. Some say that they could never teachsinging because it involves speaking and singing alternatively.

The cause is the discrep-ancy between the speaking voice and the modern singing voice. As already mentioned, one can wonder at the many conicting instructions con-tained in modern books on singing and think that there must be one way to learn tosing just as an instrumentalist like a pianist or a violinist can learn to play his instru-ment. Even more striking is a close observation of wind instrument players; just lookhow they have to apply a very strong pressure with their lips to the mouthpieces oftrumpets to establish the necessary embouchure.

There is only one way to develop thisembouchure by strengthening their lip musculature. By learning a good attack weemploy a mechanism in our larynx that can be compared to the trumpet playersembouchure, although far more special and rened. Present- day singing instructions using consonantal syllables like ma, la, bi,ni, yo, etc.

It is common knowledge that inactive mus-cles will eventually collapse. If all the newspapers and magazines are to be believed,there are plenty of suffering voices on our opera stages and concert halls. Clara Louise Kellogg67 stressed the importance of keeping the chest up and saidthe following: It is astonishing how few people use the voice properly. For instance Icould read in this tone all the afternoon without fatigue The sounds comes fromhere touching her chest and are free and musical.

They all give the instruction to sing on the vowel ah pronounced as in father,knowing full well that exercising on an ah will give us the complete mastery over ourlarynx. In the Old Italian method the transparency of the sound of this vowel madeyour mistakes or faults very clearly audible. Practice on the vowel ah implies the mostfavorable position of the throat as well as the mouth, which is free to move to othervowel positions.

Training in this method took many years, while your technique slowly28 The Old Italian School of Singingadvanced. Vocalizing on the vowel ah will make the pupil aware of his defects, whereasthe do- re-mi system of solfeggi or exercises on syllables such as ma- mi- moo will onlyhelp to cover them up and prevent his improvement.

Lunn is very outspoken on thismatter: All use of consonants with voice keeps up the evil we want to destroy, distractsthe pupil from his own stagnation, and prevents the detection of his own incompe-tence. Ernestine Schumann- Heink insists that she always uses the Italian vowel ah inher exercises. She reckons that it is important to perfect vocal tone rst by employingthe vowel that is most open. Once this mastery is achieved through practice the voicecan be further colored by the use of the other vowels.

Her sound advice issmile naturally, as though you were genuinely amused at somethingsmile until your upperteeth are uncovered. Then, try these exercises with the vowel ah. Dont be afraid of gettinga trivial, colourless tone. It is easy enough to make the tone sombre by willing it so, when theoccasion demands.

You will be amazed what this smiling, genial, liebenswrdig expressionwill do to relieve stiffness and help you in placing your voice right. The old Italians knewabout it and advocated it strongly. There is nothing like it to keep the voice youthful, freshand in the prime of condition. I use only one [vowel];ah. I studied with Errani, Strakosh and Curto; they all taught me with the same oneand I have used nothing but ah all my life. Schumann- Heinks remarks about the colorless tone you rst seem to produceare extremely reassuring, if the pure ah sound is the basis of your exercises.

The realcoloration is mainly the result of the composers capacity to write advantageously forthe human voice. The smiling expression is not only helpful in making the singer lookpleasant but, as Schumann- Heink rightly remarks, help[s] you in placing your voiceright. This is very true and you will notice that the smiling position of the mouthenables you to execute the best possible glottal attack. It is the smile that opens thethroat by enabling the lower jaw to drop naturally. This position beauties the voicekeeping it youthful, exactly as Schumann- Heink mentions above.

Also there is no marked discrepancy between theirsinging voice and their speaking voice. Listen to Melbas farewell performance in CoventGarden; after an evening of wonderful singing with her well preserved voice at the ageof 65 , she thanks all present with a full and warm speaking voice that rings out intothe opera house. Her speaking voice was described by some as being harsh and stri-1The Attack 29dent, but we can hear no trace of that in the opera house where the acoustics certainlyare in its favor.

We listen to herenthralling performances of arias and songs at the age of 45 and then get a surprisewhen we hear her sing the same repertoire at 71 in radio programs. Her speaking voiceis extremely clear; she speaks with a very brisk and hard attack of the sound and hersinging voice still rings out vigorously and has stood the wear and tear of many yearsof singing in opera, traveling around the world with her own opera company. The magical singing of Fedor Chaliapin has been described by many famous con-temporaries; Arthur Rubinstein,78 for instance, made this poignant observation: Thenhe began to sing with a voice of unique quality, powerful and caressing, softly as a bari-tones and exible as a tenors it sounded as natural as a speaking voice.

As a rule the singing voice sounds much older than its owner. Rey-naldo Hahn already speaks of this phenomenon in singers who he compares to ventril-oquists: These singers possess both a speaking voice and a singing voice. Nothingcould be more absurd Hahn describes this phenomenon, telling us that this kindof singer has just introduced himself in the most natural way, but when he commencesto sing, the voice that has just spoken can no longer be recognized.

One has the impulseto look under the furniture, but no! It is indeed the same person who is now singing. He mentions that the bass will attack all his pieceswith an imposing voice, emphatically and exaggeratedly voluminous. The tenor giv-ing his voice an added emotion, vibrating and even dramatic when he only has to sing: Dinner is served, let us sit down at the table! Modernsingers often speak with a decent attack of the voice but are not allowed to sing withone with the resulting difference.

If they employed the coup de glotte in their singingvoice then everyone would recognize that the speaking and singing voice belonged tothe same person.

Cicatrice Acné Chirurgie Esthétique Yahoo Fnac

The Attack of the CastratiOne of the most striking written testimonies of the singing of the castrati is leftby the composer Charles Gounod who visited the Sistine Chapel frequently in the year I went to the Sistine, as often as I possibly could. The severe, ascetic music, level and calmlike an ocean horizon, serene even to monotony, anti-sensuous, and yet so intense in its fervorof religious contemplation as sometimes to rise to ecstasy, had a strange, almost a disagreeableeffect on me at rst.

Whether it was the actual style of composition, then quite new to methe distinctive30 The Old Italian School of Singingsonority of those peculiar voices, now heard for the rst timeor the rm, almost harshattack, the strong accentuation which gives such a startling effect to the general execution ofthe score, by the way it marks the opening of each vocal part in the closely woven web ofsoundI know not.

The rst impression, unpleasant as it was, did not dismay me. Ireturned again and again, until at last I could not stay away. Little Charles wasput in a corner with his face to the wall and was asked to name the various keys of themodulations played on the piano. He never made a single mistake in all his answers. When Gounod heard the castrati sing in the Sistine Chapel, he was 21 years old. Not only was I thrilled by the manner in which he accurately describes the man-ner of singing, the way the castrati attacked the note, I was also particularly struck bythe similarity of my own rst experience of the castrato voice.

It was the voice ofMoreschi,83 the last castrato, called the angel of Rome. Just so, the rst impression,strange and rather grotesque as it seemed, did not dismay me. Its serenity, yet sointense in its fervor of religious contemplation, hit me just as it did Gounod and Icame to love the voice of Moreschi for its uniquely focused tone no womans voicecould ever hope to match and for its power of feeling and expression. His trio singingwith a tenor and bass was a revelation to me. For the rst time I heard the voices biteone another, exactly how Gounod describes above, because as a result of the hard attack,each voice had its own denite character.

Here was no homogenous vocal soundwhich has become the standard for 20th century choirs; here was a conversation on ahigher level in the contrapuntal music that Palestrina and Capocci wrote; here I heardthe music as it was meant by the composer. Moreschi often starts the tone with a gracenote, common practice in the Old Italian School. Tosi deals with grace notes in hissecond chapter84 and Andreas Herbst85 gives as the rst exercise, a free occurring gracenote.

Stockhausengives the example of the bass solo opening the nal movement of the Beethoven 9thSymphony, where he must sing O Freunde, from O to Freu with a leap of a fth. If he attacked the higher note on the Fr the sound is likely to be squeezed and unpleas-ant, whereas if the Fr is sounded on the same note as the O treated as an acciac-catura to the eu on the higher note, then the high note is sounded on a open vowelwith a much fuller and brighter volume.

In general, all notes should be attacked on anopen vowel and if the word begins with a consonant, that should be attached to theprevious note. More than a hundred years before Gounods description, we can share the adven-turous career of the castrato Filippo Balatri87 who left us his fascinating memoirs inowing verse.

We come across his hilarious account of a confrontation with the Frenchstyle of singing in Lyon, where he happened to pass through on his way to England, acountry that loved the Italian style. Not so the French; they actually laughed at thesinging of Balatri as soon as he started off on his Ah- ah- ah, for this comes across tothe audience as a deliberate joke. He in his turn gave a brilliant parody of the Frenchmanner of singing that he had just been treated to that consisted of caterwauling on1The Attack 31OOs and EEs. Thereby he created such a genuine success that the French entreatedhim to stay and join the Paris Opera.

The Ah- ah- ah of Balatri shows clearly that hebegan his singing with brilliant attacks on the vowel ah. He mentioned that the man-ner of singing of the French put a heavy pressure on the larynx and that he was afraidthat it would cause the singer a nasty catarrh of the throat. For the aspiring singer whowishes to sing in the manner of the Old Italian School, the rst step is to execute theattack this school of singing advocated.

It will bring out the individual and naturalsinging voice we are all endowed with and surprise its possessor greatly, for generallythis voice slumbers like Sleeping Beauty waiting to be woken up by her Prince Charming. The Importance of the Action of the Arytenoid Cartilages for Historical SingingIn the singing after the Old Method there is no pressure on the vocal cords them-selves because the preparation for the emission of voice is so perfectly executed by thesituation around them, the false cords and the arytenoid cartilages, that the vocal cordscan do their work of vibration easily.

The vocal longevity, elasticity, youth and fresh-ness of the historical singers thus become understandable. To enable the vocal cords tovibrate freely, it is necessary to keep them in close approximation by means other thanthe vocal cords themselves. They can stand quite a bit of pressure but this will dimin-ish their ability to vibrate considerably. There is a mechanism that acts on the vocalcords in the form of a pair of cartilages similar to a pair of lever- quadrants fastened tothe posterior ends of the vocal cords. This mechanism consists of the arytenoid carti-lages that open the glottal lips for breathing silently and close them for vocal soundproduction.

We have a fascinating testimony of a doctor of medicine and pioneer inthe eld of scientic exploration, Flix Despiney,89 on the functioning of the humanvoice. He convinced himself of the truth of the important discovery of the action ofthe arytenoids by activating them with his own ngers in the throat of a fresh corpseand he found that by pressing them together a vocal sound came into existence. Thevocal sound thus obtained went higher when he increased his pressure on the cartilages.