The German school of singing: a compendium of German treatises 1848-1965

Abstract

The German school of singing is often characterized by the principles of a muscular approach to respiration, an overexpansion of the chest, a darker tonal preference, fabricated laryngeal position, and an emphasis on text over vocalism. Singers, teachers of singing, musicologists, composers, and conductors rely on astute observations and intensive study of historical artifacts, including original writings, translated work, and secondary analyses to understand the German approach. English-speaking audiences typically "know'" German technique through English language writings or translated versions of scholars such as Richard Miller and German pedagogues such as Marchesi, Stockhausen, and Lehmann. However, omission of some seminal writings by German pedagogues not yet translated to English limit a full understanding of both the evolution of German technique and its applicability to teaching singing today.

This analysis documents the approach to singing advocated by nine German pedagogues beginning in the mid-1800's through the middle of the twentieth century. Using original German writings from these authors as sources for this review, it becomes clear that as the German style developed, there was a desire to move away from other European techniques, particularly Italian principles, to create a unique German method. Yet ultimately, many Italian ideas remained in the German approach. By comparing the beliefs and singing techniques of important German authors, a chronological appraisal of German style identifies the essentials of a German school of singing. These include Italian fundamentals of diaphragmatic-costal breathing, elastic tension of the breath musculature, imposto (breath-resonance connection), chiaroscuro tonal quality, an importance of head voice in blending registers, use of consonants in balancing a tone, and a gestalt approach to singing. These principles were modified to fit German preferences and taste.