The Lied and Art Songs Text Page (review)

In the world of vocal instruction, it seems that there are as many philosophies and approaches to singing as there are singers. Approaches to teaching singing range from the poetic to the scientific and the extensive number of books written on the subject has grown over hundreds of years. So why add two more? That was my initial thought as I began reading the two reviewed here. Both authors state quite openly in their prefaces that they are not presenting anything new, that no new science on the craft of singing has been created. So why go back over the same old material over again? As I kept thinking about this question, I started to think about recipes. Think of a favorite tried and true dish and there will be countless versions to be found, with changes here and there in the recipes. They all produce essentially the same dish, but the preparation and ingredients might vary. Newer versions are created based on the recipes that have been in existence for a while. The cook will compare and contrast the recipes and select the one that appeals most and more than likely alter that recipe in the process as well. Similarly, these two authors have studied the canon of vocal pedagogy and have developed their own approaches to the study of the voice.

Ideally, voice teachers all strive for the same results from their students: a lovely tone produced in a healthy manner along with an intelligently prepared performance. The variations in the methods employed in Brent Jeffrey Monahan's The Singer's Companion: A Guide to Improving Your Voice and Performance and Dan H. Marek's Singing: The First Art represent two approaches to the development of healthy singing. Both authors bring the necessary long term credentials as both teachers and performers to their writing and back up their teaching methods by calling on the great masters of vocal study, namely Garcia, Lamperti, and Lehmann, to name but a few.

Monahan's The Singer's Companion is a compact handbook for both the teacher and the student. The chapters are divided into short sections making it easy for the beginning student to grasp basic concepts quickly and for the teacher to go right to a section for clarification. The information that the author deems most important is printed in boldface type. Monahan states that he utilizes an observational or empirical method in his teaching as opposed to a scientific method (p. ix). He draws on his own experience and what others have taught. By study and observation he has made decisions on what works and what does not. As he describes the process, he quotes liberally from the masters to substantiate his statements and is not hesitant to point out differences of opinion, including his own.

The book is divided into two sections. "Part I: The Mechanics of Singing" includes eight chapters on the hows and whys of posture, breath, phonation, resonance, range, health issues, selection of a teacher, the structure of a voice lesson, practicing, and vocal exercises. "Part II: The Artistry of Singing" covers musicianship, pronunciation and diction, interpretation and performance. The author avoids overly-pedagogical language throughout, making the book easily accessible to the new or young student.

A unique contribution is found in chapter 7, "The Teacher/The Lesson." This chapter offers practical information for the individual who is considering vocal study, including what to look for when "shopping" for a teacher as well as what to expect in the lesson. Chapter 8, "Practice/Vocal Exercises," walks the student through a series of vocal exercises...