Robert Greenlee Dispositione di voce: passage to florid singing ck lercadenteh ns encore per, : Leon ws macstre ereecre gpl pet jet areey. Bch corre rnsct camer netens N crnans di Vale. debn iacorom cle Longus cx por Leneator Bh ope h ote ae tie page alian singers of the late 16th century were celebrated for their mastery of embellishment The works of Giulio Caccini (born in Rome but active in Florence) and the concert delle donne popular in Ferrara exemplify fone aspect of this art, and the florid singing of the falsenists in the papal chapel another. However, when performed with the vocal techniques coramonly taught today, these embellishments are unwieldy. often re: sulting in phlegmatic tempos and awkward phrasing. It {s thus not surprising thar the cechniques of embellish iment described in 16th-and early 17Ut-century sources are unlike their modern counterparts: indeed. the picture that emerges suggests an entirely different ‘means of singing melismas." Tn order to perform these embellishments, the singer had co acquire what was known asdsposttione di et den voce. 2 vocal ‘disposition’ that made florid singing possible. According to Giovanni Luca Conforto, the acilica della dispositione’ was possessed by very few singers.” Adriano Banctieri noted that chi ha dsposterzo dt voce eserovost cantor solo el! Orgone. Arpicorda Liuo.Chinarone.Arpimarons.@ alin Stoment sient ocendost occomodar le Canilne da Composter. mteligent, ‘i quesia Gorga® whoever has disposition of the voice exercises it singing alone with the organ. harpsichord, lute, chittatone. arp (arone or other similar instruments, doing i s0 98 10 accommodate the composers’ music... nveligently, wth this embellishment Other contemporary writers observed that the task of performing seemingly impossible embellishments was made easier by ‘buona dispositione’.* and that this EARLY MUSIC FEBRUARY [987 47\dispositione della gorga' was acquired appoce appoc Uhrough practice.* Caccini makes reference to i in his famous 1 nuove musiche, instructing the singer to ‘essercitare la disposizione’ on the most suitable vowels." Disposition opened the door (0 embellishments that, by present-day standards, require astounding facility.” aths, Sths, octaves and other wide intervals are often found in the midst of long scalic passages, apparently without remission of speed, thenote values being as shor as semicrome or biscrome semiguavers or demisemiquavers; see ex 1) ¥ Repeated notes occur at Ect isjunct embellishments (8) Bovice Regle, passaged musica, p29 1) Cipnana de Rore."Non gemme nen fine embelished \erson from Dalla Cas, Il vero modo i iin p34 8 cadences (ex.20}, in predominately scalic passages (ex.2b, 2c) in the context of accemta (ex 24}, and in the extended ornament known as mile fex.2e)? 142 Embelshments with repesed notes {3} Poestrina, Vestiva col embelshed soprano part fom ume EARLY MUSIC FEBRUARY 1987 “ hiatal Fe) Confort, eve face maniea, p12 lr) Contemporary sources suggest that these already disticule embellishments were executed with exoa: ordinary speed. Writing in 1535, Sylvestro di Ganass: observed that vocal embellishments were so fast that ‘the haphazard counterpoint produced was not offen: sive," and 20 years later Vicentino explained thar the unacceptable counterpoint went by so quickly it was, not even heard: 1 cantante andr rvolgendo per le pam... taccando kor uno pone. & horm Fata con vane consonanze & dissonenze lequalt per uloc del cantare paiono buone et ren sono.” ‘The {embellishing singer wil proceed by moving among the pans... touching now one gar, and ther another. with & variety of consonances and dissonances, which—due to the velocity of singing-seem conect and yet ate not. Some repeated-note ornaments were sung so rapidly that they could not even be rhythmically convolled. or shaped perce ques accent esend utd semicrome e bscrome, che sono welocssime non si passone far pi che a una mantera soi. se ‘ene ut si pub dare i emote. ma ueloce non cosiformeta ‘hese accents, being al of semuquavers and demisem: ‘quavers, which are of extreme velocity. cannot be performed ‘except in one manner (even ifoneis able to make a shake on ther). and that is rapidly and not shaped." As the shortest note values, bisrome were so fast that some thought they should not be notated in vocal rusic at all, but only improvized. because too few singers possessed the necessary disposition to sing them. Nonetheless. the most agile singers performed them with ease." and 2 few could even match the facility of instrumentalists, due to their'disposition: dt Dispasitione made possible embellishments that were ‘not only fast, butalso cleanly articulated, The necessity to ‘detach’ (spicciachiare) the passagei was recognized by Zacconi, who acknowledged that not everyone had the ability to ‘break and separate them’ (romperle & spezzorie)* In his instructions for singing scalic embellishments in the (talian manner Praetonus declared:fe CAR TELLA PIORET YE 2 anchlen. Camella musicale. embellishment Je geschwinder und sehrffr mun diese cauflin gemacht wenden ‘doch algo dase man eine jade Noten recht rein héren und fast vvememen han’ Je besser und anmiger es sein ward” ‘he more quickly and sharply tac these little runs are made, s0 that one can hear each note cleanly and almost distinctly, the better and more pleasing ic will be The clarity of articulation matched even that of instraments, because the tonguings used in instru stental diminution (ler-ler, derfer and terler) were said tohave a quality similar co vocal embellishment."* The articulation should be so distinct that singers without 4 good dispositione had o imitate it with consonants, ‘creating syllables such as gnu, ga, bi. vi, si, ur, bar, ber ‘(¢, not unlike diminution tonguings,"” The use of syllables to articulate vocal embellish- ments was considered second best, because it resulted. in too much distinction and separation. The ideal anticulation. made possible only by dispositione, was exemplified in a description of cometto tonguings whose author, Girolamo Dalla Casa, considered the cornetto to be the instrument most like the human, voice): with clarity, but also not too broken. ® Dispos ‘one thus facilitated the clean pitch changes possible fon instruments, avoiding portamento between notes, yet also avoiding a break in the sound, ‘When portamento was required, it was notated with a slur, Ms specific purpose being to effect a mutation, Durante explained it thus: er crescent della voce dal tuono al semituono si ossegna it ‘esis nella note tigate per dar ad imendere. che bisegna ‘omminciar crescer pace a poco facendo conto chev siono ¢ ‘come sino che start a perfect crescimenta, che quando é fate ‘bone commove ascot” For ase n pitch in the voice froma tone tots half tone. che sharp is placed on the ted [slurred] nace vo indicate hat one should climb litle by litle, moving by the count of four commas, ntl the perfect half tone ts reached—sehich creates a very moving effect. The slur was necessary to prevent the singer from articulating the musation in the same way as repeated notes—an articulation which, if used on changing. notes, would not allow portamento (see ex.3).2* 1S Stccin, Le seconde mutch, ‘Aspro fl eres zea According to Boviceli, dispositione facilitated art culation similar to that produced by alternating instvu mental tonguings (lere-lere E dower. che non tute le note si pronuntiano ad uno wstesso ‘mode, perce acuna volta si deuono spceare ad una ad una tanto che 31 sent fa difnenza delPuna dol! olva anco nla uoce. © ‘questo quando seruono per vate per cantar quando seruono per fctvarun salt d tra... doves toveronno due sole noted ‘minor uote, quelle non si deuono far senie con tant forza perche casi danno meggiar rane” And be advised, that not al ofthe notes are ariculated in the ‘ame fashion, because sometimes itis necessary to detach them one by one, so thatthe difference from ane to another 1s felt in the voice as well, and this methedisto be ysed with ‘sacae on the other hand, when used for facilitating aleap of 2 Ovied ... where one finds two notes of short value, these should note feltwith much force as dis will make for more race As can be seen in Bovicelli’s accompanying exemple {ex.4), the ‘wa notes of short value® that ‘should not be felt with much force’ (that is, articulated less vigor ‘ouslyase biscrome in the midst of semicrome Variation, EARLY MUSIC FEBRUARY 1987 4914 ovicetli egole, passa di mien of articulation is implied by sreegular bearniag in the works of Luzzaschi and Conforto, among others. Different kinds of articulation appear also to have been necessitated by contasts in style: for example, Zacconi considered that in the capella style, figures. should be sung ‘vehemently’ with ‘equal’ force,"* whereas Maffei found the smaller voce di camera more suited 10 embellished singing,” Most sources agree that the success of dispositione depended partly on the vowel. the open vowels ‘0 and ‘€’ being generally preferable ta the closed °' and vu. Maffei favoured 'o", because it made the voice rounder, sounded less like laughter, and united better with the breath. He compared the sound of embellish ments on ‘10 a little animal who goes lamencing for having wandered from its mother. and considered 'w unacceptable because it ‘covers the tone’ and sounds like a ‘wolf that is howling’ Durante described the ‘wo closed vowels as ‘odious. the ‘iT scunding like nneighing’ and the “u' like “howling Some sources andicate that vocal range also influenced the choice of vowels, but no consistent preference emerges." In ovder to acquire disposition, students were in structed to begin with ornaments such as enlle, nemoto and gruppo. According to Zacconi. tremolo, aoéa voce remanteéla vera porta dimtor dentro a passage & {1 impataonirse delle gorge: perche con pi foc 88 ne 6 fo ‘ave quando che pnma ¢ mossa: che quando nel princips lo s1 swol movere & 1! saliatore megho sata se pra che sata st remove o! sito vedi natura tale che vsandola sempre usar sidewe ucioehe ogo ss conver in Robie perche quel continuo mouer di uode aiura & wolonven spinge Ja massa dele gorge. & fociita rmraulmente\ princi de pascogss thats the emling voice isthe rue gate to enter the passages and to become proficient in the gorgia: because che boat moves with greater ease when itis First pushed, and the dances eaps better fist he prepares forthe leap 50 EARLY MUSIC FEBRUARY 1987 And itis of such a natune that those who employ 1 must sways use i so that it becomes a habit The cononual ‘movement of the voice aids and voluntanly pushes the movement of the goa, and admirably facihiaees the beginnings of the passages.” Trill and Grup... are a Step necessary unto many things that are described’, in the opinion of Caceini.™* and after learning them ane can proceed to the other ‘embellishments, By themselves, these pedagogical instructions are of litle use to us, because the actual sound of ‘Asposiaone has been lost. Fortunately, the physiology of the technique is discussed in contemporary sources. which provide the most useful instructions for its re creation. Almostall sources agree that embellishments, are articulated by the throat. The term gorgia, which ‘was used to refer to specifically vocal embellishment in itself reveals what was required, as its Renaissance meaning was ‘throat or ‘gulle."* The verb ‘gore hegeiare’ was defined (in 1598) as to gargarize, to rattle or gurgle also 10“speake in the throat’. Ganassi, for example. wrote not only ofa ‘dispositione di gorgra’ or ‘disposition of the dhroat, but also of gome or “throat embellishments'*” Embellishments done ‘with the oat’ are mentioned by Daifa Casa. and Zaccont complained that some singers, er affected gata non spiccano ei fone Te igure. 108 non le pronunnons st bene che per goria Conaceute sia” ‘ve to defects of the throat, do not detach the figures swongly enough—that is, they ate not pronounced wel ‘enough co be known as go7gia He considered the throat to be one of two vequire ments for singing embellishments. The most celebrated reference isin Le nuove musiche, where Caccini recom mended that one should ‘beat every note with the ‘throat on the vowel “a” feribattere ciascuna nota con la gola sopra le vocale 'a)) when practising mille and _gnippo." Seen in the ight of dspositone, this instruction hhas a significance much wider than the simple circum: scription of the so-scalled ‘goat-till effect of the tril This beating action is highlighted in an ornament that Caccini called ribatnua di go. literally a beating fof the throar, Monteverdi described a singer who neither ‘strikes the gowpia as well as needed, nor sweeten itn certain other places’ (non percotte bene la porgia come bisognerebbe ne la rindolcisse a ccertalti loch. . .¥ imptying at least two kinds of beating action, perhaps referring (0 the variations of articulation required by Bovicelli, Maffei specified where the beat should occur. pinpointing the glottis:iminuir embellished soprano pat from Ciprano de Rore Ancor che Col ptowores ralcdnan dof o Py = plat Vo dire dell uogo dove + pasasags st formeno I logo dove § passagai st formano, & quella stesso. nelquale si forma ta vove 08 la cartlagine chiamaza cimbajore. come habbiom veduto 10 ‘quathora costingendast et hora dilocondost de'sopradets ner nfrangeerpercuoetanco mimutomente aria che ne rsulta da (ut lo desiderato contore”” 1 will now speak ofthe place where the embellishments are ‘made. The place where the embellishments are made i the same place where the voice Is made: that is. the cardage called the plots, ashas been seen: ane must ft close. and ‘hen open, the aforementioned chords: .. breaking and rebeating as distinctly as possible the singing, an ths one can sing anything one wishes. He went on (0 say that in the singing of embellish- ments, only the glottis should move, the rest of the body remaining stationary.” Occasionally, the chest is indicated as the articv- tation agent, sometimes in combination with the oat. According (0 Sever {one af the first castrad at the papal chapel), the chest should provide the articulation of semicrome, because the use af the throat causes ‘confusione et disgusto’“ The chest was also ‘mentioned by F. Rognoni én his disparaging remarks concerning techniques of Moorish cantillation. These references (which may be indications of vocal registration rather than specific physiology) ate rate however, and throat amiculation is a common factor amongst the sources Singers without the dspositione that facilitated throat articulation substituted not only the aforementioned syllables (which were ridiculed as distasteful) but also lother equally unsuitable devices. Mersenne (who was EARLY MUSIC PEBRUARY 1987well aware of Italian techniques) provided a telling ist of surrogate articulation agents (Om Facoustume dre les cadences qut consistent oux roulerens de a gorge ut espondenc sux memblements& aux morelemens (que fan fot sur le clavur de lOrgue & de LEpinene. & sur le rmonche dy luth & des cures insnimens & chords. Ces cadences sont lee plus difficile faire detour ce quid y@ dons les Chonts & ration qui faut seulement Bome Potr de Ta gorge. qu dott fare quontit de tremilemens sans Taide dela longue Pour lez eromblemens de leves, ls ne sont pos egreables ny eros, mon lus que cove qu semblent esr rez de estomach Cone mus: be aught to make the cadences. which consist of tovlades of the throat, which are like the remblements and rmortdemens that are made on the Clavier of the organ and spinel, and on the neck of the Iule and other sting anscruments, These cadences ae the most difficult (odo of all chat there is in singing. the reason being that one must only strike te aiof the dvoat, which has 1o make a number fof remblements without the aid of the tongue As for as the remblements ofthe lips are concerned. they ‘are not agreeable, never permitted, no more than those that seem to be drawn by the stomach ‘The prohibition of ornaments thatseem to bedrawn in the stomach’ obviously refers to diaphragmatic articu lation; even in the early 17th century, singers must ‘occasionally have tried the most common technique in use coday, which was no more satisfactory then shan Although the diaphragm should not directly take part in the articulation of embellishments, dspasiione vequires it to supply ample breath: Due cose st neercano & chi vuol fr questa professione—petta & {ola pete per poter va sim quantita & un tontonumerods figure @ gusto termine condume: gola pot per potele ageuolmente summnisivare: perce mol on hovendo ne peto ne iancha. in quarto over sei figure conuergand I sot disegn interme 6 on internonto mezzo fiir se pur en finscuna. per forza nel ‘ncewer del foto si aceupano tent, che on pescano ester d tempo ue besagna® ‘Two chings are necessary to whoever wishes to practise this profession, that being chest and throat, chest, so thata areat variety and number of tones can be cared through to the ‘end: throat, in order sing with facility. Because many have neither chest nor Manks,1n four or six Figures dhey find it ‘convenient 10 intertups theirdesigns. or with an interuption ‘only half finish: ané when notable to finish, being occupied ith the necessity to take a breath, they are notable tobe an, lume when necessary. Where melismas contain values shoner than the quaver. the quantity of breath requived is greater (Queste due gute Semichroma et Buschromo nan si pongano nelle 52 EARLY MUSIC FEBRUARY 1987 omposirion! da cantare. per napento dello inhabilia de pir contorepecloce lo stmmgel socodun arta ala voce humana é lfc per cousa del'ospiranane de! fate: nondimano ci sono fanco de cantan che per gore delle lor fice gorge on acta le ‘pornan cantare? ‘These wo Figures, he semiquaver and the demisermquaver should not be notated in vocal music, de tothe inability of the sluggish singer. because (0 bind chem together under fone tactus is difficult in the human voice, due to the aspiration ofthe breath, nevestheless, there ae singers. who ‘through the power af their iuckily-cispositioned throztscan sing them with facility [A singer should ‘employ only as many figures in one. breach as can be sung comfortably’ (.. di pigliar ante figure in un fiato, quante ne possa commodamente pronuntiare..}.¥ and the beginner is warned ro lerthe breath escape only ‘litle by little." Reviewing the characteristics associated with good dsposttione—extraordinary velocity, the use of orna- ments (such as mitlo) as pedagogical tools, a beating quality in the dhroat, and clean articulation—st be comes easter (0 understand why modern techniques: are so woefully inadequate in the perfermance of embellishments. When singing with either of the (wo, most common present-day techniques, vibrato artic lation or diaphragmatic articulation, the notes are 1 fact not aniculated at all. Either the periodic (uct ations of pitch and volume of vibvato, or the pressure from a short pulse in the diaphragm. is used to make fone note seem separate from the next. But the articu: lation is only an acoustic illusion, because the muscles of the larynx do not lock into specific notes but inscead crass all frequencies between any two notes (a very quick portament|, An easily assimilated analogy is at of the trombonist who cannot tongue: every interval must include not only the intended notes. but also a slide dough every frequency between them, Neither vibrato nor diaphragmatic articulation can be used without a rapid portamento from note 10 note, although at slower speeds these techniques succeed in highlighting {normally with volume) the desired notes so that the side between them is barely noticed. As indicated above. portamento was by no means excluded from a singer's techniques, but it was not used indiscriminately between every note of a melisma Apart from the question of portamento, present-day methods of singing havea number of other inadequa: les as far as the acquisition of dispositione is con: ‘cerned. Neither vibrato nor diaphragmatic articulation provides sufficient facility for the performance of late6th-century embellishments, even when a conser: vative tempo is adopted. Neither technique can pro duce a convincing clearly repeated note, which was fot an anomalous ornament or special aspect of the Aispositione, but rather a simple first step used in teaching the technique of articulating diferent nats. Neither technique produces the unequivoca clarity distinctness and beating action that are cailed for, nor even the ilusion of clean articulation i the pesfosm ance of rapid, wide leaps Of the modem techniques, ubrato articulation (and the allied modern temole articulation, consisting of fluctuation of volume without pitch change) has gained recent support as a 16th-century technique. Dut no light has been shed om how the singer 1s to overcome the many inadequacies mentioned above. Moreover, because 16th-century singers with dispas tione could articulate at any speed. from very slow to very fast and at rates in between the subdivisions (ehrough the use of rubato) the mhythmic changes are {00 complex for the regularly recurring Muctuations of vibrato, which normally change speed only as a consequence of dynamic variation. Finally, the use of modern vibrato is ruled out because its an integral part of unembellished singing: dispasitione was not a Dre-existent aspect of technique vansformed into 2 relismatic device, butrather a technique with the sole purpose of providing melismatic aniculation.* Many characteristics of dispostione were described by contemporary writes: ts speed, is distinctness in tnbroken sound, its clarity of pitch even over leaps of an octave or more, its accommodation of any note values, and its production of such well-executed arti- culation that it was universally admired and imitated by instrumentalists. By what means was table to fulfil 50 many functions? Because the control of pitch inthe voice is analogous to the mechanism of a trombone slide, a device comparable to tonguing would seem to be the logical answer. Tonguing per se has been ruled ‘out by the sources, which instead describe a “beatin the throat. This action mustbe sinilarto 3 tonguing in the throat or, more specifica, in the glots itsel The glottis has the capacity to close and open at various speeds, from the high frequencies thar produce pitch tothe single cfose-open mechanism required to begin vowels it Germanic languages iglotal stroke Laughing. ering, ‘clearing the tnoat and other such activities require glowal opening and closing, Just like the tongue in wind articulations. the glotis opens and closes the passage of ait from the diaphragm to the sound-producing mechanism (af which itis a part) (f the glostis were the tongue. so t0 speak, it could close and open in a similar fashion, remaining closed for the fraction of a second that is needed for the chords to readjust toa new pitch, Wind tonguings do just that in the short time needed to adjust fingers or slide, the ‘wind passage Is closed. In the tonguings used in the Renaissance, however, the air passage is not always entirely closed for the change of piteh. In the case of ler, lee, the aperture ts only partially obstructed (both ' and’ allow some air to escape). Could the glottis also only pattally close. ‘close so quickly that the chords readjust to a new pitch without the sound stopping completely? Such an action would perfeciy suit all the articulation require: ments, assuming that it could be controlled in rapid movement. and repeated notes could be sung without complete separation yet audibly detached or ‘beaten The glottal beat af dispasitione may be similar to the glottis-artigen Vorschlager’ that have been suggested a a Middle Eastern influence on Italy—an influence that the sources seesn to verify.*“ The unusual sounds, associated with closed vowels are certainly more easily understood in this context. The “beat in the throat’ may also be akin to the glottal articulation, vecently introduced by a few singers of early music, who have found it an indispensable element in the pesformance of fast. cleanly articulated embellish ments. Singers would be well advised to consider how they might acquire a ‘bona, & legeiada dispos tlone’, which allows even those with otherwise ‘medi- ‘cre voices’ t0 ‘live as masters... molti che per la mediocre voce mediocramente viuano, con accom pagnamento della gorgia viueriano da Signor’) Robert Greenlee. a member of the Department of Music ot Bowdoin College in Brunswick Maine. US.A, is a singer who specializes in florid vocal music and has recorded with the Schola Cantorum Basiltensis. "Recent studies of late-Renaissance embelishment techniaues Intute D GativerCortareconla gorge: The Colortura Teche of die Renavssancesimger aus m Musi vi (1973) pp 10-V8 3nd 1 Greenlee, The Amislation Technigues of Flood Singing in the eralssonce: An Ingoduction. Joumal of Pafemnance Pence, | (0883), pp.n-13. "Bree face marie ofr passes! 159B/R1970) fst "Canute muse me! cate figure. forms connapunte Vener, 614/R1960) p09 "EL ae alm er aventura dicessero, che o haves posto aleuni rassagi che patone inpossib Tans con viva voce. spender lor. che ese est dalla natura doau di buond dspositione d efor dposnane ome, EARLY MUSIC FEBRUARY 1987 St“oes ne saranne ance.) peter ass stcomeag intendente iquesapeoessione mi coneade ( Bowceh, Reale, Macog? ah imutca (ervce. 1504/8995, p56 Oc Molle, Pele tere ibn dve (Naples. 1562, p36 ‘us nuove mie (orence.¥602/RI934). pI For ais ofthe dite works that contain embelshment. see ET. Fevand, Didactic Embeltanment Laterature nthe te Renal ance: A Survey of SOUCES, Aipits of Medieval and Renwsaconee sie A Bro Ong to Castave Rese Nee Yor, 190A, 154-72 "The use of several conseewtive leaps, however, wae fe cf Sowell op ex. 9.15" fa consinuavione di malt sel seme sit ‘pts proprio del toment che dela Voce "The term rel als used for repeated pitch omaments by wo Milanese authors: Boucle p 12. and F- Rogen, evade San pasoge (Milan. 1620/R1970), p.1 Zaceont never specealy Getines meet, but Ws desenpuions in Panes dh mute (Venice. 4596, 1622/R1983), 160, alco suggest 2 single: pteh omament Tenaly in thie pend 3s more often desened 2 two Dich forramene Se2€. Macclntock,“Caccin Tino a Re examination AIS denn {1978} 99 3841 "6S di Gans. Oper moma Fomgor tnqualemsegn sonore db auto Wensce. 1833). chap 13 TN Vicntine. Lontca musta mda ale madems patie (Rome. 1555/819591. 94 Malte also comments # ben veto. che nel pasragsare s fa qualche amore ma pereil pesige' con Ts sua Ueloeia edoleez2a cup 1 ileto dh modo che Me spre, he fates u # conoece. op ci. p78 aomectt op ct pi "yanelated in MaeChovock, #0, 9.38 "ZaceoM, op 2 123 (nib, 62v he propeses it igure er tan as te speed sed to the beginnes, which, IS come ‘hamples ne vied as reference. would place he boesea on the Senibrese The relationship of the barrama v0 the Bote wouls therefore be the sateasthat preached by Dall Cas. nl vero modo ‘harm con tunel sorrento vee Pama IWemee, 1584781970) x prtace. 52. pe batts. aking (or very fast Sacome even atthe slowest concesable teauae The bata must never Be slowed merely to accommodate shugesh singe ‘Lt pubellartperienacasa chee gospheggnteieres. Cal tempact [Etmsora i) quale to quel occoto et aeeegat di igure ome et onder. et eh fon d questa mire tempo le Rua 0 mene ‘Goche in esa ds bllo semina, senza veruna gratitude pede nel fone. Zaecon. op et. C38 "vicenuino. op ef Sv According to R Rognons, Pssogi per pow sserevone nl diminute (Venic, 1592) pelace. some singers Stic ro sang atthe speed employes by mstromenabsts, but the faster sotes sre more sited wo inseumental performance "Zaccons ape (88, 710 OM Prgctonus. Synge museum (Wolfen £9956), p 236 "Gall Casa op a, preface “SE Rognon. ope. since De gh Somentadi ato ply cellent Comet persminat 1 once! hummona piu de gl aly stroment. Questo svomento ‘opera piano, & forte in og sme di Tuono, si come fal voce alhngua uvole eser ne po mona. ne nopno hatuta ma wot ese srl lla gor. Po: nella nua far pocd robb, ma uona Sieheagnna tend abe} stomentllabei lingua. la bela Miura, 9 tarp 12 boce humans. ehe sia pose Op a. preface “NO. Durante, Ane devote (Rome. 16. preface DiSlrs ee ohrase marke were sso sometimes ted 10 groyp together the many syoned sotes of writen out ill apparently ‘mae the sylabifeanon clea (ct Banehien. 2p st 9.225, Mosel, ope p ifeventated wind tomings ate employed on cae passages ‘equal myhinivatge ewe Boweelh would have the voice west 614-197 S4 EARLY MUSIC FEBRUARY 1987 cach note withthe same anicwation °C Lunaseh Medgar cantare sonore a ura. do #96 pram (Rome, 1601), pt6 YRese aliculaion vanants Me v0! tndcated in Luzzach's tong, Scat tatae Mowever AM ole quotes rmansaton ef Gustin Pues meorrecty suggest at ese tree pefonmence pacice fiesis'"--ora con auaseinars 18 Smozzatl, con Faceompagnsinento dun soave interono s0%070, ‘va tanco posegellunght Sebi bene, spices ora Bupps ora fale oa con tril lng era con best. now slow, breaking ‘ff wih sometimes a gente sp. now singin fog passage legs fr setached. now groupe fo leaps, now mi Longs pow with thor} Guistaman, Duco sop muse (1628) tes CMacelintack, Masel! Sates and acumen (1982, P22 beter translation might read sow running long passages. et suing, ant detached op a. C180 0p ot 9.31 Cac topo pS) and F Rogan lope. preface} considered ‘the deal vomel fer earning ela snd gpg. Bowcel op BT™ 1). Bruneth (Var eer per 1 02 oe presen soot nose ni Firenze. 1613) pelace) and Durante one retace) Favour the woes 9 and 8 op a. pp.s8-8 0p at preface sale! pot 59-80} Found less ‘ruta a wow in the soprano Gum othe other pats. whileCaccins considered’ abeter ‘vowel in he sprane han the Yenor. and the vowel Better the Aenoeinan'v bp op), "Opa 15D Grane fn MacChiack, Readings the tary of Music Pegormance(sconington. 1979) p73 ‘Mop ev 18. ane) PYtOnd, At Indo th Sit of uy Lado, 2658181372, p29 Florio, 4 Werlde of Wore (London, 1598/1972) ma ander gorshegpace op et. chap 13 Op place zaceon ap 3 58S op en. C nestevent tate dice prfezione, 80. de Pao Rome. 1975), pa eter o€ 9 ne 1610 Wop ot 932 ind p i semieromesicentna con vvacita et esto ip che sara possibile purehe sano specate dal eno ¢ eon dala yola come Sleum fanno che in cambvo di dar puso al! omechio,Kenerang Conftsione.¢dugusio"F Severs, Sol Passagnn pe eee ‘ome, 1613). pretace, fergie. dhe geste ne Suesific How canano in questo ‘mode, ce par che rion moroando quant! dent hanna i bocca {2a imparino, ce a gongs sua en dal pen, e nan dalla gole por. retace ‘itvenes sind northern European sources indicate the use ofthe ‘oyoatas tll See Me Merutne. Harman unvrsae (Pare, 1656— SHIRI963) 1. 9385, He Finck, Pre muse Wiener 1536) £31069, 1S and.A.>-Cacheo, Compendium musiee (Nurember 1552/1954) Lewy Playford suggest, perhaps somewhat navel ‘Dur the singer should beat or shake) ws thee finger upon he ‘oat. mihemdstorevery note wo sequire te eesaae ep ct pp9s-99) op ot, Ss zaceori ep 6 SB hd 28, sem 1606 iMate ep 3t p38 For Zaccon|. the vowel's tas nore breath (op ans, 160) while Malte complains dhat'2 and'e donor uate ‘with he bea as wel ae-@ fp POO-6i).For discussions of vibrato a8 technique of aculation eH Broun Embeticing Seton Cenry Masi Landon, 1576), 1, fn and Galivee, ap tt. pl. R Doningion comments upon the ‘modern vocal bemolo as an aneulotion techngue in The Iter reason of Ealy Masi (New York ev 3/1978). 23) "Zaccon’s wore nenante. a hence his nemo, equated vith ‘orate M Uden and Schindler Conta ails revea di usa thaovs vocalta monteverdiana: "cole Conpress memazionle Sul tora Monteverdi! suo tempo Wenice, 1968) pp430~=832 Zaccont calls mole continuous movemen’ ofthe voice’, Dotsays thanit'should beeuecinet ope. 60} soit was adeed irate hou be used only ornamentaiy Mc Walff‘OnienalischeEinfiise i Sen improviationen des 16 und 17-Jahvhunders in Bech ober den sichntenttraonalon _Musthsseschoftien Kenge, Intemational Muiclogiea Sky Cologne, 1958 {Kasel, 1959) ppI3, 315. Cerone. 1 Melopec Y rroesno (Naples, 1813), .S50.ventes that singers improvising ‘mbelshmentssamstaneously sound ike a'synagogue of Hebrews "Ste Early Mise Quartet and Nigel Rogers wore among the st to use glotal areulton, "2accon ope. (25 Please note our phone numbers EDITORIAL 01-493 9376 ADVERTISING 01-352 6400 | SUBSCRIPTIONS 0865 56767 EARLY MUSIC AT STANFORD Workshop in Baroque Dance & Music 29 June-10 July 1987 Wendy Hilton, Baroque dance Marion Verbroggen, recorder de is Trio Sownere Monies Hiugget Beropue vik Sarah Cunningham, vila de gamba Mltas Meyerson, arpsichord « ‘Seminar in Organ and Early Keyboard Performnance: The Music of Dietrich Buxtehude 13-17 July 1987 ‘Marald Voge on Stanford’s dual-temperamnent Fisk Organ * {or information or application write ‘Department of Music Braun Music Canter Stanford CA 94305-3076 USA cs) 73.3811 tn Bari hc Pemane Price (elie = . it on | ) ‘The International Summer Course THE BAROQUE RECORDER | will be held from 15 to 22 August, 1987 at St. Edmunds Hall, Oxford TUTORS Daniel Bruggen: Amsterdam : Edgar Hunt: Landon, Hees Otten: Amsterdam » Dr Ulrich Thieme: Hanover ‘arpsicord Accompanist: Maria Sora, London & "This course is intended for advanced players only and will be further enhanced by visits to places of local interest together with recitals in the Oxford area. Applications should be made for further details to: MOECK UX., 26 Sunbridge Road, Bradford BDI2AE Indicating your musical qualifications, FARLY MUSIC FEBRUARY 1987 SSDispositione di voce: Passage to Florid Singing STOR PEESAS « Robert Greenlee Early Music, Vol. 15, No. 1. (Feb., 1987), pp. 4 Stable URL: hutpu/links jstor.orgisii i F2.0.CO%3B2-4 0906-1078%28 198702291543. 1%3CAT%IADDVPTI Early Music is curreesly published by Oxford University Press. Your usc of the JSTOR archive indicates your acceptance of ISTOR’s Tenns and Conditions of Use, available at hhup:i/www jstor orgfabouvtenns htm. JSTOR"s Tenns and Conditions of Use provides. in part, that unless you have obtained prior permission, you may not download an calie issue of a jovraal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work, Publisher contact inforntation may be obtained hup://www,jstor org/journals/oup hee Each copy of any part of a ISTOR transinission must contain the sane copyright notice that appears on the Sercen or printed page of such transmission, JSTOR is an independent not-for-profit organization dedicated to creating and preserving a digital archive of scholarly joumats. For nore information regarding JSTOR, please contact support @jstor.org. hup:tiwww jstonore! Mon Nov 13 17:43:41 2006