Dispositione di voce: passage florid singing by Robert Greenlee

Hi Andrew.

This is josh Davis.

This is second video project for the peer reviewed article.

The article I chose was uh, the dispositive devotion uh

passage of florid singing by robert Greenlee.

Uh, the claim of this article Is that modern vocal

techniques do not successfully and capture the singing embellishment techniques

that were taught in the 16th and 17th century.

The method that he uses to substantiate this claim is

that uh, he cross examines the writings of vocal tutors

and composers that uh, such as but not limited to

um Conforto moffet Pacini with intellectuals who critiqued the performance

practice of early music in the modern era, such as

David gal ever.

And so the article starts off by saying that in

order to have uh in order to make the uh

to perform these embellishments, the singer has to have what's

called a dispose it johnny devotion which was considered the

method to use or the method used to sing embellishment

successfully um training and the voice happened a little by

little according to Pacini and the woven musik er and

they should use fouls that were considered stylistically relevant to

the singer.

So, uh, they would avoid uh, e val the evil

because it sounded like laughter.

They preferred rounded vowels like all.

Uh and they also avoided because it sounded like a

wolf howling.

Now, some sources say that whichever value used is dependent

on the voice type.

Uh, was one source said that a tender may have

used e because it was more suited for that voice

or or that a soprano would have used all but

a tender wouldn't have used to do probably because it

resembled that wolf howling sound.

Now this is a this picture is a, is a

represent representation of some of what some of the ornaments

used during that time period and some of the embellishments

were performed so quickly.

That was out this dispositive only devotion.

They muddled the counterpoint and were considered indiscernible and they

had no musical shape or the result of the rhythmic

of the rhythm of it was muddled the disposition.

It helps separate each note with the pathology.

And the alternative if the singer didn't have, the disposition

was to use like instrumental articulation that resembled vocal embellishments

uh like vocal structures like V.

Boer got A.

Or B.

Beginning. Students of the disposition studied the Trillo which was

also considered the tremolo with a group of because it

was considered the foundation of the other ornaments.

Now obviously we don't have any audio recordings of what

this disposition would have sounded like.

But all of the sources agree that the embellishments were

made with the Georgia and any vehicle cini alludes to

uh in the linen woven Muzzi came.

Uh every note should be beat on the vowel up.

Uh And so this global are they agreed that the

the singer should use this uh global articulation to make

the freedom of sound occur through these melodramatic passages, but

some of the resources indicate that the chest of the

diaphragm could have been used to resemble the vocal technique

of the disposition A but they were considered artificial are

unsuccessful compared to the correct technique of of the time

period. And so, uh what I think this article does

a really good job at is it sort of compiles

a bunch of uh opinions of good vocal productions during

the 16th and 17th centuries into one focused article.

So we see a lot of different, we see a

lot of different opinions of how the sound was made

to produce what was considered extremely fast or lamentations of

the time period.

Uh What I don't think the article does a good

job at is sort of substantiating this claim that singers

of the modern era uh fall short of making these

uh same uh sounds with the same efficiency, the same

healthy vocalizes.

Uh There are there's not really any examples that uh

are there not any examples of of what uh robert

specifically speaks about as sort of as like a performance

that was a specific performance that he heard that could

have. Uh he could have used to show what sounded,

it just seemed like a blanket of broad term of

modern singers don't have the capacity to make this sound

because uh we don't because we don't have any Any

uh audio recordings of what it would have sounded like

the 16th, 17th centuries, but I because we don't have

those specific comparatives.

I don't see I in my opinion, I it just

sounds like we could have done the same kind of

thing, but all right, well, thank you.

Andrew.

Dispositione di voce: passage florid singing by Robert Greenlee

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