Vocal Performance Practice in Three Eras Term Paper

Vocal Performance Practice in Three Eras
Looks at the evolution of vocal performance practice in opera from the Baroque, Classical and late Romantic eras.
# 147401 | 3,550 words | 13 sources | MLA | 2009 | US

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This paper explains that vocal compositions from the time of Purcell through Wagner vary greatly, but the methods through which singers are to accomplish their music changed drastically. Next, the author describes the use of ornamentation or embellishment, tessitura, tone color, expression and articulation in relation to the operatic styles of one or two composers from each of the Baroque, Classical, and late Romantic eras. The paper concludes that the concept of "Messa di Voce", which continues to be important in the tone quality desired by composers, remains ideal in vocal performance practice not just because it sounds good but also because it is physically less taxing on the singer's voice. The paper includes footnotes.

Table of Contents:
The Baroque
W.A. Mozart and the Classical Era
Richard Wagner and the Late Romantic

From the Paper:

"When one thinks of the Baroque style, an element that almost certainly comes to mind is ornamentation or embellishment of the music. Until recently, there were a few assumptions that were applied to all Baroque music, be it early or late in the period. One was that a trill must start from the note above the main note. While this rule holds true for most Baroque music, both Stewart Carter and Frederick Neumann agree that there are instances where the trill may start from the main note. Martha Elliott adds that one must consider the context of the trill and which method creates the best dramatic effect and resolution in the music."

Sample of Sources Used:

  • Brown, Howard Mayer, and Stanley Sadie. Performance Practice: Music After 1600 (Norton/Grove Handbooks in Music). New York: W. W. Norton & Company, 1990.
  • Butler, Charles. Principles of Musik in Singing and Setting (Da Capo Press Music Reprint Series). New York: Da Capo Press, 1970 (originally 1636).
  • Sanford, Sally (author) and Stewart Carter (ed.). "Solo Singing 1". A Performer's Guide to Seventeenth-Century Music (Performer's Guides to Early Music). New York: Schirmer Books, 1997.
  • Elliott, Martha. Singing in Style: A Guide to Vocal Performance Practices. New Haven: Yale University Press, 2008.
  • Foreman, Edward (ed.) and Dominico Corri. "The Singer's Preceptor" The Porpora Tradition. Masterworks on Singing. Volume III. Wisconson: Pro Musica Press, 1968.

Cite this Term Paper:

APA Format

Vocal Performance Practice in Three Eras (2011, March 29) Retrieved August 08, 2022, from https://www.academon.com/term-paper/vocal-performance-practice-in-three-eras-147401/

MLA Format

"Vocal Performance Practice in Three Eras" 29 March 2011. Web. 08 August. 2022. <https://www.academon.com/term-paper/vocal-performance-practice-in-three-eras-147401/>