Presentation Abstract

The master-apprentice tradition is rooted in the experiences of the master, requiring students to value the teacher’s observations of their voice over their own. In this teacher-centered pedagogy, students frequently silence their artistic and technical instincts. This learning environment establishes a clear hierarchy of power in the teacher-student relationship. From an inferior position, students become dependent on their teachers, often ignoring their bodies in pursuit of the “correct” way to sing. Teachers and students often embrace the dependent relationship of the master-apprentice tradition as it allows them to fulfill roles they understand, and earnestly continue to honor traditions established by the great singers and pedagogues of the past.

The late 19th and early 20th century is often regarded as the last “golden age” of Western classical singing. During this time, Manuel Garcia II, Mathilde Marchesi, the Lamperti’s, among others, codified much of the Bel Canto technique that continues to resonate throughout voice studios today. Much of the research concerning these revered pedagogues focuses on what they taught, but not how they taught. However, writings of the “golden age” pedagogues and their students reveal that their primary focus was on the individual and independent development of each student. The teacher often relinquished the traditional role of “master,” and assumed the role of mentor and co-learner — listening with an empathetic ear and responding to the needs of the student while encouraging their sense of individual agency. By examining the how, contemporary pedagogues may realize adjustments in their teaching that honor and build upon the knowledge and experiences of students, ultimately devising a more student-centered pedagogy.

Conclusion

Beyond the ethical and moral issues embedded in the master-apprentice tradition, this practice has been removed from its original context while attempting to preserve certain aspects of its antiquated pedagogy. Rarely do 21st century voice students live with their teacher, receive daily voice lessons, only practice under supervision, and fail to compensate their teacher until they begin a professional career. However, the imbalance of power in the voice studio in some cases still persists. Many young singers continue to look to their teachers for approval and permission when making an artistic, musical, technical, or career decision — and some teachers continue to embrace this power. Considering most 21st century voice students typically receive a maximum of one voice lesson per week, it is imperative they become their own best teacher. Turn of the century soprano Luisa Tetrazzini wrote, “After all, each one must do the real work herself.” If the ultimate goal of teaching voice is to inspire a culture of autonomy, then voice teachers should reflect this in their pedagogy and process. Rather than an environment determined to claim power over artists, voice lessons can empower students to embrace their independence while providing them the tools to teach themselves how to sing and explore their artistic potential while practicing. 

Authentic singing requires vulnerability and autonomy, as it compels singers to contextualize their artistry within their worlds. If the goal is to inspire independent singers who embrace their artistic autonomy, then voice pedagogy must move beyond the fundamental tenets of the master-apprentice tradition. It is not enough to remove the labels of master and apprentice from the Western classical singing community, but the requisite teacher-centered practices of this tradition must also be removed. Rather than mourning singers of a bygone age, contemporary voice pedagogues may need to question their how – actively and purposefully considering or reconsidering the manner in which they interact with students. Do my actions encourage autonomy or perpetuate dependence? Is this lecture on voice science for me or my student? Am I valuing science over the sensations of my student? How can I include students in the selection of repertoire, making it a formative experience? Is now the time to teach this student about historical performance practice, or celebrate their bold artistic risk? How might I navigate the focus of instruction from curricular expectations to providing space for students to develop as artists in their own time? Am I denying students the opportunity to express their identity in their singing by imposing the Bel Canto aesthetic on them? Grappling with questions like these may cause discomfort, but may ultimately provide more space for vulnerability and autonomy in voice lessons. Perhaps by paying heed to the co-learner structure embraced by the revered turn of the century voice teachers who ushered in the last “golden age” of Western classical singing, contemporary pedagogues may find a pathway back to a more student-centered philosophy. 

Bibliography

Anderson, James. We Sang Better Vol. 1 How We Sang. Barcelona: Beuthen Press, 2012.

Anderson, James. We Sang Better Vol. 2 Why it was Better. Barcelona: Beuthen Press, 2012.

Brown, Chistine A. “A Humane Approach to the Studio,” in Humane Music Education for the Common Good. edited by Iris M. Yob et al. Bloomington: Indiana University Press, 2020.

Brown, William Earl. Vocal Wisdom Maxims of Giovanni Battista Lamperti. New York: Arno Press, 1931.

Chapman, Janice. Singing and Teaching Singing: A Holistic Approach to Classical Voice. San Diego: Plural Publishing, 2017.

Cleaver, Robert. “A Godly Form of Household Government.” Internet Shakespeare Editions[online], University of Victoria, Nan [Accessed 29 Oct. 2020] https://internetshakespeare.uvic.ca/doc/CleaverGodly_M/index.html.

Good-Perkins, Emily. “Rethinking Vocal Education as a Means to Encourage Positive Identity Development in Adolescents.” in Human Music Education for the Common Good, ed. Iris M. Yob et al. Bloomington: Indiana University Press, 2020.

Herrington, Anthony and Jan Herrington. Authentic Learning Environments in Higher Education. Hershey: Information Science Publishing, 2006.

Kingsbury, Henry. Music, Talent and Performance: A Conservatory Cultural System. Philadelphia: Temple University Press, 1988.

Neill, Roger. Divas: Mathilde Marchesi and Her Pupils. Sydney: New South, 2016.

Olwage, Grant “The Class and Colour of Tone: An Essay on the Social History of Vocal Timbre.” Ethnomusicology Forum 13, no. 2 (Fall, 2004): 206.

Sands, Mollie. “The Singing-Master in Eighteenth-Century England.” Music & Letters 23, no. 1 (Jan., 1942): 69-80.

Sherwood, Travis. “Inspiring Autonomous Artists: A Framework for Independent Singing.” Journal of Singing 75, no. 5 (May/June, 2019): 528.

Smith, Steven R. “The Ideal and Reality: Apprentice-Master Relationships in Seventeenth Century London.” History of Education Quarterly 21, no. 4 (Winter, 1981): 449-459.

Stark, James. Bel Canto A History of Vocal Pedagogy. Toronto: University of Toronto Press, 1999.

Tetrazzini, Luisa. Caruso and Tetrazzini on the Art of Singing. Oslo: Compass Circle Publishing, 2020.

Tosi, Pier Francesco. Observations on the Florid Song. London: J. Wilcox, 1743.

VeneKlasen, Lisa and Valerie Miller, A New Weave of Power, People, and Politics: The Action Guide for Advocacy and Citizen Participation. Warwickishire: Practical Action Publishing, 2007.