Performance Practice of Baroque Vocal Technique
When approaching a performance, accomplished musicians often consider the historical context from which a piece originates. They most often think of such considerations in the application of that context as it pertains to early music that is, the Baroque era or earlier. For any era, such historical considerations are called performance practice, and may include the use of vibrato, ornamentation, dynamic levels, tempi, instrumental timbres, performance setting, and balance. Vibrato and ornamentation are two important areas of consideration that vocalists must explore when aiming to give an authentically Baroque performance.
'Ideal' Baroque Vocal Technique: The Assumed Ideas
Over the past several years, some amateur musicians have developed specific ideas about 'correct' performance practice of Baroque music. In an essay concerning the issues of Baroque music performance, Michael Sartorius notes that:
performance to a major degree reflects the spirit of the times, and some of today's 'authentic' performances have less to do with historical accuracy, attempting rather to produce a performance which, in John Eliot Gardiner's words, will 'excite modern listeners.' (Sartorius)
As a result, audiences today want a sound that contrasts with the full, constant vibrato used in singing today, such as is found in straight-tone singing, and a sound that contrasts with twentieth century minimalism, such as is found in ornamented melodies.
Amateur voice teachers, amateur singers, and amateur listeners often associate straight-tone singing with correct Baroque performance practice (Almirena). This idea is probably an outgrowth of the way scholars understand correct d...
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A. 20th Century Repertoire. Lipscomb University, 2007 -. Web. The Web. The Web. 8 Apr. 2016.
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The musical performance aspect of my paper was not an issue to complete. If you go to Little Italy, New York on any given weekend, especially around the holiday season or the San Gennaro Festival, musical performers are usually playing on the streets. There are many restaurants in Little Italy, Manhattan that have live entertainment; most of these musical performers will come to your table. When it came to comparing the musical traditions of Italy to the Italian-American performance that I observed, I had a little more trouble. Italian music is such a large topic to delve into–there are so many composers and different types of music that it made it difficult to narrow down my research for this paper. In future research among this community, I would suggest that the student is aware of what type of performance they are going to observe—I was unaware of whether the musician would be a Classical Italian performer or an Italian American performer. In my opinion, most of the performers in Little Italy, Manhattan seems to be Italian-American.
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.