Cornelius L. Reid

Cornelius Lawrence Reid ( born February 7, 1911 in Jersey City, New Jersey; † February 3, 2008 in New York City, New York), worked as a singing teacher in New York. Reid coined the term functional voice training. He specialized in bel canto technique and has written several books on bel canto and the mechanics of the voice, which has been translated several times.

Biography

At the age of nine years, Cornelius Reid sang as a chorister at Trinity Church in New York. When his voice after puberty by the soprano moved to baritone, Reid was taught by different teachers in New York, among others, the voice scientist Dr. Douglas Stanley, as his assistant, he worked from 1934 to 1937. Through constant strain his voice because of confusing and contradictory instructions of his vocal coach Reid was forced to give up the desire for a singing career. He questioned the current singing methods, which led him to develop a functional voice training, which is based on the teachings of the Italian bel canto era, and is combined with the latest scientific findings.

In the years after 1940 Cornelius Reid was involved in the research of the early writings on singing technique of singers and singing teachers of the 17th to the 19th century. As a result of this activity, Reid authored seven books and many articles on singing, bel canto and Functional vocal development.

Until shortly before his 97th birthday, he taught for almost 75 years singing in New York. Many of his students have been significant singer and singing teacher. They invited him to hold master classes in North America, Europe, Japan and Australia. His teaching had great influence on the teaching methods in North America, Europe and Asia. Several cities in Germany have gained for one-to two -week master classes Reid for years.

Criticism

Reid and other authors who write in the present time about bel canto and have written, will therefore be swum against the tide and have risked criticism. In contrast, Pedro de Alcantara ( a teacher of the Alexander Technique ) supported both the theses Reids and the of Husler / Rodd - Marling, 1965 the book Singing - The physical nature of the vocal organ published: " The free-thinkers Reid and the writing team of Frederick Husler and Yvonne Rodd - Marling delivered watertight solid arguments for the right relationship of cause and effect, breathing and singing on. Her books were highly controversial, but their opponents withdrew rather back to the point ad hominem and designated the authors, as crazy when they had their criticisms proven or disproven. "

As Reid's first three books were published in 1975 as a trilogy, Richard Dyer - Bennet wrote the following: " The present time seems to constantly waver between a mechanical and mystical approach to the problems. As always, here also lies the path between the two extremes. Because partial misinterpretation and rejection, the present-day educators have a long way from the old doctrine, the productive principles of bel canto. As an author and teacher Cornelius Reid has these principles not only rediscovered, but redefined on the basis of his own findings and there is no reason not to follow this path. "

Publications about bel canto

Reid's first book, Bel Canto: Principles and Practices of 1950 was followed by two further volumes The Free Voice: A Guide to Free Singing in 1965 and Voice:. Psyche and Soma, in 1975, these three books were in 1975 again by the Joseph Patelson Music House publishing relocated as a trilogy. 1977 Reid received a grant from the Ford Foundation with the mission to develop a dictionary of vocal terminology: A Dictionary of Vocal Terminology - An Analysis, the only lexicon of its kind worldwide today. After several books in the nineties followed including books Essays on the Nature of Singing and a German translation by Leonore flower and Margaret Peckham of the manuscript of Vocal Exercises: Their Purpose and Dynamics, in 1994 the Schott publishing house in Mainz, under the title Functional Voice development - Purpose and movement of vocal exercises appeared.

At Reid's 90th birthday festschrift The Modern Singing Master appeared: Essays in Honor of Cornelius L. Reid. Debra Greschner wrote in the Journal of Singing: "The history of vocal pedagogy is full of references about teaching singing sizes of the bel canto era. The editors Ariel Bybee and James E. Ford were aware in choosing the topics for this book to the fact that the simultaneous recognition of educational tradition and reverence for Cornelius L. Reid, the teacher whose theories they believe in this book should reflect. Reid's publications are any serious student of vocal pedagogy well known. "

Some of his books are in Japanese, Korean and German language.

Education

Reid's teaching is based on the writings of the famous teacher of the 17th to the 19th century as Giulio Caccini, Pier Francesco Tosi, Giovanni Battista Mancini, Domenico Corri, Francesco Lamperti, Giovanni Battista Lamperti, Manuel Patricio Rodríguez García, Isaac Nathan and Julius Stockhausen.

In the Festschrift The Modern Singing Master of the American vocal researcher and professor of voice and vocal pedagogy at the University of North Texas, Stephen F. Austin, the vocal scientists, Cornelius L. Reid and his students honored with the following words: " Only very rarely will you find a singing teacher, who teaches in the way, such as the treatment of vocal registers were used in the bel canto era, the period in which the singer had come to the maximum fillet skill. Once you have discovered such a teacher, you come to realize that this teacher was directly or indirectly affected by a single man, namely Cornelius L. Reid. This made ​​a unique contribution to the vocal pedagogy, because he not only teaches the traditional traditional teachings from the heyday of the singing, but this also makes for the requirements of an opera operation of the 20th and 21st century re- usable and could make their practicality proof ".

A summary of the doctrine Reid appeared in the Journal of Singing, the official journal of the National Association of Teachers of Singing: "The approach of Reid's theory is based on the two- register theory and the knowledge that the only factors that a deliberate accomplish control over an involuntary muscle system, the three basic elements of pitch, intensity (volume) and are vocal. Vocal exercises in which various combinations of these three basic elements are linked and the use of, functional hearing ', as well as a careful analysis of the sectional balance will produce a free technique ".

See also: Functional voice training and singing Register

Musical career

  • Chorister at Trinity Church Choir, Wall Street, New York, 1920-1925.
  • Private singing lessons with Dr. George Mead, New York, 1929.
  • Private singing lessons with Marie Wagner ( student of Lilli Lehmann) New York, 1929-1930.
  • Private singing lessons with Frieda Hempel, New York, 1930.
  • Accompanist at Povla Frijsh, New York, 1932-1940.
  • Private singing lessons with Dr. Douglas Stanley, New York, 1934-1937.
  • Studies at the New York College of Music, New York, 1945-1947.
  • Vocals: Ruth cherry Arndt.
  • Accompanist Dr. Frederick Kurzweil.
  • Piano: Carl Werschinger, Professor Angela Weschler.

Chronology

  • Singing teacher, 1934-2008 in New York City.
  • Assistant to Dr. Douglas Stanley, 1934-1937.
  • Conductor, WPA Music Project Chorus, 1939-1940, 1939 New York World's Fair, Flushing, NY.
  • Singing teacher, 1940-1941, Marymount College, Tarrytown, NY.
  • Conductor, Ars Musica Guild Chorus, 1941-1943, Flushing, NY.
  • Conductor, Chorus Consolidated Edison, 1941-1943, Queens, NY.
  • Conductor, 107th U.S. Navy Seabees band, from 1943 to 1945.
  • Teacher of elocution, 1946-1969, General Theological Seminary, Chelsea, NY.
  • Associate Professor, Teachers College, Columbia University, New York City, 1992-2008.

Publications

  • Bel Canto: Principles and Practices. Boston: Coleman and Ross, 1950, reprint, New York:. Patelson Joseph Music House, 1975 ISBN 0-915282-01-1. .
  • The Free Voice: A Guide to Natural Singing. Boston: Coleman and Ross, 1965 reprint, New York:. Patelson Joseph Music House, 1975, ISBN 0-915282 -02- X. .
  • Voice: Psyche and Soma. New York:. Patelson Joseph Music House, 1975 Reid's first three books were printed in 1975 as a trilogy. ISBN 0-915282-00-3.
  • A Dictionary of Vocal Terminology - An Analysis. New York: Joseph Patelson Music House, 1984 edition, Huntsville, TX. Recital Publications, 1995 ISBN 0-915282-07-0. .
  • Essays on the Nature of Singing. Huntsville, TX: Recital Publications 1992 ISBN 0-9663862-1-3. .
  • Functional voice development: scope and sequence of movements of vocal exercises. Translated and supplemented by Leonore flower and Margaret Peckham. Mainz: Schott, 1994 Original Title:. Vocal Exercises: Their Purpose and Dynamics. . Manuscript, New York, 1988, ISBN 3-7957-0268-2 and Functional Voice Development: Fundamentals and practical exercises. New edition ISBN 3-7957-8723-8.
  • The Modern Singing Master: Essays in Honor of Cornelius L. Reid. Edited by Ariel Bybee and James E. Ford Lanham, MD and London: Scarecrow Press, 2002 ISBN 0-8108-4241-6. .
  • Heritage of Bel Canto - based on functional voice training, translated and supplemented by Leonore flower and Margaret Peckham: Mainz: Schott, 2009 (in preparation).

Papers

  • "Voice Science: An Evaluation". Australian Voice, Issue 11, (2005 ), pp. 6-24.
  • " Eighteenth Century registrational Concepts". Journal of Singing, Vol 56, No. 4, (March / April 2000), pp. 31-38.
  • "Vocal Mechanics". Journal of Singing, Vol 54, No. 1, ( Sept. / Oct. 1997), p.11 - 18th
  • " The Nature of Resonance." The Journal of Research in Singing, Volume XIV, ( December 1990), No. 1, pp. 1-26.
  • "The Nature of the vibrato ." The Journal of Research in Singing, Volume XIII, No. 1, ( June 1989), pp. 39-61.
  • " The Nature of Natural Singing". The Journal of Research in Singing, Volume XI, No. 2, (June 1988 ), pp. 3-29.
  • "The Intensity Factor in Vocal Registration". The Journal of Research in Singing, Volume IX, No. 1, ( December 1985), pp. 43-60.
  • " Science and Vocal Pedagogy ." The Journal of Research in Singing, Book VII, No. 2, ( June 1984), pp. 21-33.
  • " Functional Vocal Training" (in 2 parts). The Journal of Orgonomy, No. 4, No. 2, ( December 1970), pp. 231-249, and No. 5, No. 1, (March, 1971), pp. 36-64.
  • " Liturgical Speech". Bulletin of The General Theological Seminary, 1965.
  • " Belcanto - The idea and its realization in practice ." ( Original title: " Bel Canto - Principles and Practices " ), translated into German by Leonore flower and Margaret Peckham. Frankfurt am Main, 1995.
  • " Questions and Answers". ( Original title: " The Free Voice"), translated into German by Leonore flower and Margaret Peckham. Frankfurt am Main, 1996.
  • " The falsetto ". ( Original title: "The falsetto register"), translated into German by Leonore flower and Margaret Peckham. Frankfurt am Main, 1997.
  • " Functional Voice Training - Its principles and its application." ( Original title: " Functional Vocal Training" ), translated into German by Leonore flower and Margaret Peckham. Munich, 1997.

Master classes

  • Musicians club, Chicago, IL, 1965.
  • Musicians Club, Richmond, VA, 1966.
  • English Bach Festival, Oxford, England, 1967.
  • Immaculate Heart College, Los Angeles, CA, 1967, in New York City.
  • National Association of Teachers of Singing, 1975, 1976, 1986, 1997.
  • Westminster Choir College, Princeton, NJ, 1978.
  • Midwestern State University, Wichita Falls, TX, 1979.
  • Lower Rhenish Music and Art School of the city of Duisburg, 1984, 1996, 1997, 1998, 1999, 2000, 2001, 2002.
  • University of Music and Performing Arts Munich, Munich, 1985.
  • New York University, New York City, 1985.
  • Teachers College, Columbia University, New York City, 1989, 1993, 1997.
  • Ithaca College, Ithaca, NY, 1991.
  • Syracuse University, Syracuse NY, 1992.
  • Colgate University, Hamilton, NY, 1995.
  • Dr. Hoch's Conservatory in Frankfurt and the Frankfurt Federation of Musicians, 1995, 1996, 1997, 1998, 1999, 2000, 2001, 2002.
  • State University of Music and Performing Arts in Mannheim, 1996.
  • Congress of the German Federal Association of Singing Teachers, Munich, 1997.
  • School of Music, University of Washington, Seattle, 1998.
  • New York Singing Teachers Association, 1998, 2003.
  • Guildhall School of Music, London, England, 1998.
  • Wiesbaden Music and Art School, Wiesbaden, 1998, 2000, 2001.
  • University of Music and Performing Arts in Frankfurt am Main, 1999.
  • Howard Park Pentecostal Church, Toronto, 2000.
  • First Baptist Church, New York City, 2000.
  • Conservatory of Vienna, Vienna, 2001, 2002.
  • Folkwang Hochschule in the Ruhr, Essen-Werden, 2001, 2002.
  • Théâtre de Vevey, Vevey, Switzerland, 2002.
  • Mainz School of Music, 2002.
  • Hunter calf studios, Chatham, New York, 2002.
  • School of Music, Syracuse University, Syracuse, New York, 2002.
  • American Center for the Alexander Technique, New York City, 2005.
  • The Hartt School, University of Hartford, Hartford, Connecticut, 2005.

Student of Cornelius Reid

  • Ariel Bybee
  • Clamma Dale
  • Richard Staab
  • Carol Farley
  • Rouwen Huther
  • Robert Manno
  • Julian Patrick
  • Ellen Shade
  • George Shirley
  • Dirk Weiler
  • Wendy White
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