The purpose of the study is to analyze the relations and differences between Bel Canto which predominated in the vocal field from the 17th century through the 19th century and the vocalization of Enrico Caruso selected, by The Washington Post, as the greatest vocalist in the past thousand years, mak...
The purpose of the study is to analyze the relations and differences between Bel Canto which predominated in the vocal field from the 17th century through the 19th century and the vocalization of Enrico Caruso selected, by The Washington Post, as the greatest vocalist in the past thousand years, make some contribution to the modern study of vocalization, and help those who study the vocalization, hoping for the restoration of Bel Canto, or who wish to learn Caruso's vocalization. Bel Canto is a vocalization of great artistic technique which places emphasis upon the beauty of vocal sound, clear resonance, and smooth vocalization rather than upon dramatic expressions and romantic emotions. In this study, first, such important matters as respiratory rules, register and break, register fusion, messa di voce, resonance, vowel purification, singing and uttering, and sound attack were mainly researched, most of which are considered as significant in Bel Canto, and then by comparing them with the features of Caruso's vocalization, the several following results have been reached at last. Firstly, in terms of respiratory rules, as Bel Canto uses the diaphragm for respiration, Caruso adopted the way of the teachers who teach Bel Canto for a vocalization. Second, so far as register is concerned, both Bel Canto and Caruso's vocalization require the single register, whose feature is the occurrence of the break, namely the turning point of vocal sound naturally occurring between chest sound and head sound. In Bel Canto it's important to make the break not occur at this point, and Caruso can sing at a single register without any break thanks to his inborn voice. Thirdly, register fusion is necessary to sing at a single register. For the register fusion, Bel Canto adopts the way of training the weak register and messa di voce, a practicing way of making voice gradually swell out. In terms of messa di voce, Caruso has a perfect voice, and he considers the breath control as a basic for the performance. Fourthly, as for resonance, it is said that, in Bel Canto, the resonance of the human body should be used naturally and easily, but the creation of effective resonance and vibration is also a way of good resonance. Similarly, Caruso emphasizes the necessity of the use of resonance rather than strength to make louder and good vocal sounds. Fifthly, in the process of singing, the pure utterance of vowels is required in Bel Canto. It is explained that good use of vowels helps to unify voice color and the proper combination of vowels also helps to set the position of vocal sounds, and the change of vowel sounds leads to the laryngeal changes. In this respect, Caruso urges that the facial muscles and the muscles around the lips should be made relaxed in the process of singing to get pure vowel sounds. Besides, vocal organs should maintain the same position and shape in the process of the pronunciation of vowels even while the pronunciation is changing. Finally, in Bel Canto it is explained that, in the sound attack, the way of crescendo is not desirable, and standing by the state of the vocalization at the same time of breathing out is very important. In comparison, Caruso urges that sounds should be attacked in the rear part of the larynx with it fully opened. In conclusion, the results from the comparative analysis of Bel Canto and Caruso's vocalization show that his genius in vocal music comes from the fact that he was born with the good organs of a natural voice in addition to his own efforts, and what is better, he tried to follow the techniques required in Bel Canto and benefited from them. It is, therefore, necessary that those who wish to study Caruso's vocalization should understand the principles of Bel Canto, since both of them have much in common with each other in many respects.
The purpose of the study is to analyze the relations and differences between Bel Canto which predominated in the vocal field from the 17th century through the 19th century and the vocalization of Enrico Caruso selected, by The Washington Post, as the greatest vocalist in the past thousand years, make some contribution to the modern study of vocalization, and help those who study the vocalization, hoping for the restoration of Bel Canto, or who wish to learn Caruso's vocalization. Bel Canto is a vocalization of great artistic technique which places emphasis upon the beauty of vocal sound, clear resonance, and smooth vocalization rather than upon dramatic expressions and romantic emotions. In this study, first, such important matters as respiratory rules, register and break, register fusion, messa di voce, resonance, vowel purification, singing and uttering, and sound attack were mainly researched, most of which are considered as significant in Bel Canto, and then by comparing them with the features of Caruso's vocalization, the several following results have been reached at last. Firstly, in terms of respiratory rules, as Bel Canto uses the diaphragm for respiration, Caruso adopted the way of the teachers who teach Bel Canto for a vocalization. Second, so far as register is concerned, both Bel Canto and Caruso's vocalization require the single register, whose feature is the occurrence of the break, namely the turning point of vocal sound naturally occurring between chest sound and head sound. In Bel Canto it's important to make the break not occur at this point, and Caruso can sing at a single register without any break thanks to his inborn voice. Thirdly, register fusion is necessary to sing at a single register. For the register fusion, Bel Canto adopts the way of training the weak register and messa di voce, a practicing way of making voice gradually swell out. In terms of messa di voce, Caruso has a perfect voice, and he considers the breath control as a basic for the performance. Fourthly, as for resonance, it is said that, in Bel Canto, the resonance of the human body should be used naturally and easily, but the creation of effective resonance and vibration is also a way of good resonance. Similarly, Caruso emphasizes the necessity of the use of resonance rather than strength to make louder and good vocal sounds. Fifthly, in the process of singing, the pure utterance of vowels is required in Bel Canto. It is explained that good use of vowels helps to unify voice color and the proper combination of vowels also helps to set the position of vocal sounds, and the change of vowel sounds leads to the laryngeal changes. In this respect, Caruso urges that the facial muscles and the muscles around the lips should be made relaxed in the process of singing to get pure vowel sounds. Besides, vocal organs should maintain the same position and shape in the process of the pronunciation of vowels even while the pronunciation is changing. Finally, in Bel Canto it is explained that, in the sound attack, the way of crescendo is not desirable, and standing by the state of the vocalization at the same time of breathing out is very important. In comparison, Caruso urges that sounds should be attacked in the rear part of the larynx with it fully opened. In conclusion, the results from the comparative analysis of Bel Canto and Caruso's vocalization show that his genius in vocal music comes from the fact that he was born with the good organs of a natural voice in addition to his own efforts, and what is better, he tried to follow the techniques required in Bel Canto and benefited from them. It is, therefore, necessary that those who wish to study Caruso's vocalization should understand the principles of Bel Canto, since both of them have much in common with each other in many respects.
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#BEL CANTO창법 CARUSO발성법
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