The ideals of intonation in the eighteenth century and its consequences in performance practice

Authors

  • Alberto Pacheco State University of Campinas
  • Adriana Giarola Kayama State University of Campinas

DOI:

https://doi.org/10.35699/2317-6377.2003.55786

Keywords:

ornamentation, intonation, voice, singing, castrati, performance practice

Abstract

In this article we intend to identify the ideals of intonation in the eighteenth century, when the Italian castrati dominated vocal practice and pedagogy. We will note that these ideals interfered in musical performance practice, in particular, when dealing with the performance of appoggiaturas, portamentos and musical ornamentations which involved sound “frequency fluctuations”.

Author Biographies

  • Alberto Pacheco , State University of Campinas

    Alberto Pacheco: Tenor from Belo Horizonte. He holds a Bachelor's degree in Music, with a concentration in "Voice," from the State University of Campinas (UNICAMP). Currently, he is pursuing a Master's degree in Interpretative Practices at the same institution. Always funded by FAPESP, he has been conducting research on Baroque Vocal Music interpretation for the past four years. He joined the Unicamp Choir "Grupo Zíper na Boca," where, in 1994, he made his debut as a tenor soloist in Ariel Ramirez's Missa Crioula. At UNICAMP, he has studied with professors such as Adriana Giarola Kayama, Niza de Castro Tank (voice), Edmundo Hora (Baroque music), Eduardo Ostergreen (conducting), Fúlvia Escobar (piano), and Vânia Pajares (opera studio). He has sung under the guidance of professors like Amim Ferez, Adélia Iça, Francisco Frias, Joceline Galo, and Edilson Costa. In 2000, he participated in a production of Verdi's La Traviata under the baton of Carlos Fiorini, in the role of Gastone.

  • Adriana Giarola Kayama, State University of Campinas

    Adriana Giarola Kayama is a voice teacher, specializing in diction, voice physiology, and chamber music, at the undergraduate and graduate programs in Music at the Institute of Arts at UNICAMP. She is a lyric soprano and holds a Ph.D. in Music (Voice Performance) from the University of Washington, USA.

References

AGRICOLA, J. F. Introduction to the art of singing. Tradução de Julianne C. Baird. New York: Cambridge University Press, 1995 (original de 1757).

DOSCHER, Barbara M. The functional unity of the singing voice. Boulder: The Scarecrow Press, 2a edicão, 1994.

MANCINI, Giambattista. Pratical reflections on the figurative art of singing. Trad. Pietro Buzzi. Boston: Gorham Press, 1912 (original de 1777).

MANCINI, Giambattist. Pensieri e riflessioni pratiche sopra il canto figurato. Viena: Ghelen, 1774.

SADIE, Stanley. The new grove dictionary of music and musicians. London: Macmillan Publishers Ltd., 1980.

SANFORD, Sally Allis. Seventeenth and eighteenth century vocal style and technique. Stanford University, Unpublished. Doctoral Dissertation, 1979.

TOSI, Pier Francesco. Observations on the florid song; or sentiments on the ancient and modern singers. Traduzido por Galliard. Londres: J. Wilcox, 1743 (original de 1723).

TOSI, Pier Francesco. Opinione de’ cantori antichi e moderni,, o sieno osservazione sopra il canto figurat. Bologna: 1723.

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Published

2003-07-01

Issue

No. 08 (2003): General Topics

Section

Articles in Portuguese/Spanish

License

Copyright (c) 2003 Per Musi

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This work is licensed under a Creative Commons Attribution 4.0 International License.

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Except where otherwise noted, contents on this site are licensed under a  Creative Commons - Atribuição 4.0 Internacional.

How to Cite

“The Ideals of Intonation in the Eighteenth Century and Its Consequences in Performance Practice”. 2003. Per Musi, no. 08 (July): 57-65. https://doi.org/10.35699/2317-6377.2003.55786.

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