ABSTRACT
In 1808, Rauzzini published Twelve Solfeggi or Exercises for the Voice, which represented his ideal pedagogical strategy. He did not claim to have invented a new pedagogical method, nor did it solve a specific problem. What made the treatise unique was that Rauzzini marketed it to a more advanced student with a working musical knowledge. The treatise also demonstrated that Rauzzini upheld traditional Italian vocal training methods, and most of its contents were solfeggi designed to develop a student’s vocal flexibility and understanding of different vocal styles. The solfeggi were embedded in the Italian vocal training tradition and were designed to support a student from their most basic studies to advanced training. After his death, there were also three other treatises posthumously attributed to Rauzzini. Two of the publications expanded on the 1808 publication, by including 12 more solfeggi Rauzzini had intended to publish. Unfortunately, the third treatise, published in 1817, was a bastardisation of his original work, created specifically with the intent of selling to a beginner student. While this treatise did not align with Rauzzini’s original aims, it demonstrated that his fame a master pedagogue was still revered almost two decades after his death.
