The early music movement has encouraged many excellent singers to
cultivate various types of anti-Romantic vocal production, but we
still fashion our Renaissance voices after criteria that are really
less secure than those by which the instruments of the period are
reconstructed. I think the time is ripe for an infusion of
objective knowledge into this field of intuitive endeavours, and I
think we can obtain it by reading the theorists of the day in the
light of modern knowledge about the physiology of the voice.
In this article I should like to explain some anatomical features
of the voice in order to show how certain historical depictions of
singing and contemporary remarks by four representative theorists
of the late Renaissance in Italy (Vicentino, Zarlino, Maffei and
Zacconi) can tell us rather more than we might imagine possible
about such stylistic matters as timbre, agility, articulation and
power. I shall begin by distinguishing broadly between early and
modern (that is, Romantic) techniques, but it will become obvious
that even within the limits of late 16th-century Italian singing,
more than one basic technique was used. In fact Zarlino and Zacconi
both made, as we shall see, the same explicit distinction between
cappella singing, which was loud, and camera singing,
which was softer and more agile.
An important step from early to Romantic vocal techniques took
place at Lucca on 17 September 1831, when, in the course of the
first Italian performance of Rossinis William Tell, the
young and ambitious French tenor Gilbert Duprez used, for the first
time in public, the so-called chest c". In effect Duprez
extended to the entire vocal gamut the stentorian manner of singing
which tenors like Domenico Donzelli were already using in the
middle register. (1)
The emerging Romantic techniques had in common a new way of
manipulating tension in the vocal cords and, along with this, a new
way of changing from the middle to the upper register of the voice.
In this context the position of the larynx (see illus.2) became a discriminating element among
various types of voices in Romantic singing. These three pointsthe
manipulation of tension in the vocal cords, the method of changing
to the upper register, and the position of the larynxneed some
explanation. (2)
Tension in the vocal cords. Being muscles,
the vocal cords have the capacity to contract themselves actively,
and when we speak out emotionally they become rigid in a
continuous, isometric contraction that is a hallmark of Romantic
singing technique. This rigidity of the vocal cords allows the
lungs to operate upon them at a higher pressure, which produces a
correspondingly more powerful sound. But at the same time they are
less nimble, and it takes a greater effort to negotiate
passaggi and the like.
There is another way to manipulate the vocal cords tension. They
can be stretched by other muscles within the larynx, pulling at
them indirectly via a sideways movement of the little funnel-shaped
cartilages to which they are attached at the rear (see illus.3). Their own active contraction can then
be limited mainly to the control of intonation. This technique,
combined with the Renaissance technique for changing to the upper
register, results in the cords being generally longer and more
flexible; but they are still capable of contracting somewhat in
order to colour the vocal timbre for fine nuances of expression.
This kind of technique must have been used by Renaissance
camera singers, otherwise they could never have improvised the
elaborate graces and passaggi prescribed in so many
treatises of the day. (3)
Changing to the upper register. Here again
the Romantic techniques (which are, of course, among the most
widely practised today) entail a greater degree of active
contraction by the vocal cords. In both the older and the more
modern techniques the Adams apple is tipped forward by muscles
outside the larynx and thereby stretches the vocal cords. In the
older techniques this is achieved by pulling forward the upper
horns at the back of the Adams apple (illus.4a): whereas in Romantic techniques the
Adams apple is pulled down (illus.4b):
For some reason the muscles attached to it from
above react by tugging upwards (just as they do when we yawn); the
vocal cords join in the fray, as it were, and so reach that more
vigorous contraction which is needed for the very powerful,
stentorian high notes of modern operatic singing.
For the less energetic mechanism of the older techniques, the
forward tipping of the Adams apple can be facilitated by using a
rather forward position of the jaw. We can see this position of the
jaw in many Renaissance and Baroque depictions of singing (see
illus.1 and 5), and to this day Neapolitans use it both in singing
and in speaking. (4) If you try it, you may sense that while the
front wall of the throat is also drawn forward, the jaw itself
remains free to move vertically.
Position of the larynx. Manuel
Garçias Traité complet de lart du chant
(Paris, 1840) presented in systematic detail a new technique which
Garçia had first encountered in Italy in 1832 and which had
made its first appearance in Parisian opera in 1837; he stated that
its greatest novelty consisted in keeping the larynx constantly
lower than in the older techniques. (5) Quite apart from the effect
of this lower position upon the working of the vocal cords within
the larynx, it darkens the voice by enlarging the resonating
chamber of the throat.
The timbre produced by the larynx itself is strongly modified by
the shape and size of the throat and mouth. In effect, certain
limited parts of the spectrum, called formants, are favoured by the
successive resonating chambers of the throat and mouth (see
illus.6), and the changes of timbre due to their respective shapes
at various moments are perceived as vowels.
Among the vowel formants the first two are particularly important
(see illus.7 overleaf). The lowest one depends upon the throat
cavity (because it is larger than the mouth) and gives the voice
much of its basic colour. The second formant depends upon the mouth
cavity and is responsible principally for comprehensibility. The
more the frequency band of the mouth formant is differentiated
among the vowels, the more comprehensible the words will be; but at
the same time the less the frequency band of the throat formant
changes, the more homogeneous the general timbre will be.
Garçias rule to keep the larynx constantly low favours a
relatively homogeneous timbre, which he and his contemporaries
called voix sombrée. In this, the most widespread
type of Romantic voice, (6) all the vowels have a throat formant
corresponding to the kind of oo sound (as in boom) that a
ventriloquist might make if he sought to produce as deep a groan as
possible without altering his smile. (Try this while touching your
Adams apple, and you will feel it moving down.)
The dramatic quality of the voix sombrée is gained at
a price, however, because the base of the tongue is anchored to a
bone whose own position is determined by that of the larynx (see
illus.2). If the larynx is constantly pulled down, the tongue has
less freedom to differentiate the mouth volumes for each
vowel.
From what I have said so far one can see, first,
that the older techniques favoured suppleness and agility rather
than power, and secondly, that the dramatic timbre of the modern
voix sombrée is achieved by lowering the larynx so
much that the tongues ability to form the different vowels is
hampered. Before going on to the Italian theorists, I should
like to discuss in slightly greater detail the relationship between
homogeneity of timbre and comprehensibility among the vowels, and
address briefly the issue of vibrato.
We tend to consider a voice homogeneous in timbre when the pitch of
the first formant remains fairly constant during the pronunciation
of the different vowels. When the size of the throat cavity changes
perceptibly with each vowel, the effect is one of increased clarity
at the expense of consistency in the vocal timbre. When the jaw is
held forward (as in Renaissance singing), the size of the throat
cavity is slightly increased and thus stabilized, and so the vowels
are somewhat rounded (see illus.8a). When the throat is
enlarged even more by lowering the larynx, however, the timbre
becomes very homogeneous and, indeed, all the vowels are
oo-coloured (see illus.8b).
I should mention that the vocal glaze which tends to characterize
singing in general is due in part to another formant that is always
to be found at the level of about 3,000 Hz (i.e. around
f-g), though it is variable in width and intensity according to
the particular vocal technique adopted. When a singers vocal cords
are more rigid than is normal in Romantic-style singing however,
harmonics altogether higher than this singing formant gain in
prominence and contribute to the timbre a brilliant, somewhat
acerbic reediness which can vary from a needle point to a clearly
metallic resonance. We shall see that Zacconi refers to this as a
so-called head voice (voce detta voce di testa) and warns
singers to avoid it.
The effect of vibrato upon the voice is more perceptible among the
higher harmonics than the lower ones, and since modern techniques
tend to concentrate energy in the higher harmonics, the vibrato
seems more prominent than it really is. So closely are these two
aspects of modern singingthe metallic sound of the higher harmonics
and the accentuated vibratoassociated with each other that today we
often perceive a non-metallic voice with a moderate vibrato as
having none at all. Listen carefully to a recording while changing
the timbre with the bass-treble dial: this cannot convert a
Romantic-style tenor sound into a Renaissance-style one (or vice
versa), but it can show to what a surprising degree our perception
of vibrato depends upon the upper harmonics.
A singer can, with considerable effort, reduce the vibrato so much
that the voice becomes fixed. But it would be naive to assume that
quite this extreme must normally have been involved in the
welldocumented Renaissance and Baroque chamber-style practice of
firming or, alternatively, vibrating the voice for expressive
reasons. (7) (The Italian verb fermare is not as strong as
fissare.) In the more sonorous church singing I think it is
reasonable to suppose that vibrato was a constant element, but
never so prominent as it later became in the Romantic theatre. The
whole question of vibrato does of course need to be examined at
greater length and with reference to Baroque as well as Renaissance
sources.
The earliest of the four theorists I should like
to consider here, Nicola Vicentino, is the one whose information is
perhaps the most oblique. In his Lantica musica ridotta alla
moderna prattica (Rome, 1555), the discussion of various
aspects of performance (such as phrasing, accentuation,
pronunciation and expressivity) touches occasionally upon matters
of vocal technique. In book 4, chapter 17, Vicentino prescribes
that:
per commodita dei cantanti, & acciò che ogni voce
commune possi cantare la sua parte commoditamente ... mai si
dè aggiognere righa alcuna, alle cinque righe, ne di sotto,
ne di sopra, in nissuna parte, ne manco mutar chiavi
for the convenience of singers and in order that every common voice
can sing its part commodiously ... no ledger lines should ever be
added to the five lines of the stave, neither above nor below, in
any voice-part; nor indeed should the clefs be changed. This restricting of each voice to a very moderate
range shows that Vicentino did not expect singers to change up into
a high register at all. By further specifying that this convenience
will suit good voices as well as those which are not very elegant
and powerful (questa commodità sarà communa, si
alle voci buone, come a quelle non troppo gagliarde &
potenti) Vicentino implies that good voices (presumably those
of professional singers) were capable of greater extensions; but
the limit he sets still guarantees both facility of emission and
comprehensibility of the words. La sesta è, che distenda la lingua di modo, che la punta arrivi, e tochi le radici de denti di sotto. The sixth rule is that the tongue is distended in such a way that the point arrives [at] and touches the roots of the lower teeth. (11) The constancy of this position of the tongue in
the pronunciation of all the vowels is indeed indispensable to any
singer who wishes to match the welldifferentiated mouth formants of
speech (so that the words can be understood) without sacrificing a
modicum of constancy in the throat formants (for a homogeneous
timbre). This is a particularly important rule for camera
singing in what Monteverdi was to call the seconda
pratticathat is, music in which the text is of primary
importance. (12) La settima è, che tenga la bocca
aperta, e giusta, non più di quello che si tiene quando si
ragiona con gli amici. The seventh rule is that the mouth be kept open,
and properly no more than that which it is kept when one reasons
with ones friends. (13) Again this refers to camera singing, which
is relatively quiet, and enables the singer to produce vowel sounds
similar to those of speech. Giorgiones Il cantore
appassionato (illus.l) illustrates this very well, and from
Maffeis musical examples we can see that the range which he
required of the voice was quite limited, as Vicentino had
prescribed, so a greater opening of the mouth (only necessary for
the emission of high sounds) would merely have looked awkward. La quarta è, che piu volontieri si
faccia il passaggio nella parola, e sillaba dove si porta la
lettera, o, in bocca col possaggio, che nellaltre; Et accioche
questa regola sia meglio intesa, hora la dichiaro, le vocali
(comogniun sa) sono cinque, delle quali, alcuna come è lo, u
porta uno spaventevole tuono allorecchia. ... Et alcuna, si come
è lo, i, portando col passaggio, rappresenta unanimaletto
che si vada lagnando per haver ismarrita la sua madre; pure si
può concedere chal soprano istia manco brutto il passaggiare
per lo, i, challaltre voci. Laltre vocali che rimangono, si ponno
senze scrupolo portare, pure fando fra loro comparatione, dico che
lo è la migliore, percioche con essa si rende la voce piu
tonda, e con laltre, oltre che non cosi bene sunisce il fiato,
perche si formino i possaggi, sembianti al ridere, pure non
istringendo tanto questa regola; mi rimetto al buon giudicio del
cantante. The fourth rule is that one more readily does
passaggi upon a word or syllable that carries the [Italian]
letter o in the mouth with the passaggio than upon the other
letters; and in order that this rule be better understood I now
declare that the vowels (as everyone knows) are five, among which
the one that sounds like oo carries a terrifying tone to the ear.
... And the one like ee if carried in a passaggio represents
a little animal that goes about whining for its lost mother; yet
one can concede that with the soprano the passaggio with ee
is less ugly than with the other voices. The other remaining vowels
can be carried without scruple, yet making comparison among them I say that o is the best, because with it the voice is rendered more
round, and with the others, not only is the breath not united so
well, but also passaggi are formed that resemble laughing;
yet not being too strict with this rule I leave it to the singers
good judgment. (14) One could dismiss as curiosities Maffeis choice
of o as the best vowel for passaggi, instead of ah, and his
descriptions of the oo and ee sounds. But a more coherent
interpretation is that being Neapolitan he took for granted that
forward position of the jaw which favours o and shades the ee sound
(in a typically Neapolitan way) just enough to make his picturesque
description feasible.
un'altro non vorrebbe sentir se non passaggi di garganta, un
lodar il cantar dolce, e soave, un'altro il cantar nella
cappella Some would wish to hear only passaggi di
garganta; some praise sweet and suave singing, some
cappella singing. (15) Part 3, chapter 46 of Gioseffo Zarlinos
Istitutioni harmoniche (Venice, 1558) includes a discussion of
singing. Zarlino is explicit about the two vocal
techniques: ad altro modo si canta nelle Chiese et nelle
Capella publiche, & ad altro modo nelle private Camere:
imperoche ivi si canta a piena voce ... & nelle Camere si canta
con voce piu sommessa & soave, senza fare alcun
strepito in churches and public cappelle one sings
in one manner, and in private camere in another: for there
in cappelle one sings in full voice ... and in camere
one sings with a more submissive and suave voice, and without
yelling. Zarlinos remarks about safeguarding the clarity
of the poetry complement those of Maffei: se ... udimo alle volte alcuni sgridacchiare
(non dirò cantare) con voci molto sgarbate, & con atti
& modi tanto contrafatti, che veramente parino Simie, alcuna
Canzone & dire come sarebbe: Aspra cara, e salvaggia e croda
vaglia; quando doverebbono dire; Aspro core, e selvaggio, e cruda
voglia; chi non riderebbe? if ... on some occasion we heard people
screeching some song (I do not say singing) with very ungraceful
voices and with actions and methods so counterfeit that they truly
appeared to be monkeys, and saying what would be Aspra cara, e
selvaggia e croda vaglia (Bitter darling, and savage and craggy
value) when they should have said Aspro core, e selvaggio, e cruda
voglia (Bitter and savage heart, and crude wilfulness), who would
not laugh ? So Zarlinos observation of poor madrigal singing,
when taken together with our depictions of exemplary singing (with
the jaw forward) and with Maffeis sixth rule (that the tongue
remain in contact with the roots of the lower front teeth), gives
us a coherent and fairly precise indication of camera
technique. chi dice che col gridar forte le voci si
fanno; s'inganna ... perche molti imparano di cantare per cantar
piano & nelle Cammere, ove s'abborisce il gridar forte, &
non sono dalla necessità astretti a cantar nelle Chiese,
ò nelle Capelle ove cantano i Cantori
stipendiati he who says that one makes a voice by crying out
loud is deceived ... because many learn to sing softly and in
camere (where loud singing is abhorred) and are not constrained
by necessity to sing in churches and in cappelle where paid
singers sing. (16) He criticizes unduly soft as well as unduly loud
singing, but is particularly sensitive to the harsh (or should we
call it brilliant ?) timbre produced by singing too
loud: gl'insegni il modo di ... raffrenar la voce per
non superare gli altri: ne però permetta che canti si piano,
che una Musica ove egli è introdutto a cantare paia vota,
ò senza quella parte: perche l'uno, l'altro sono deffetti
insupportabili let him learn how to ... refine the voice in
order not to drown the others; nor however is it permitted to sing
so softly that music in which he is introduced to sing appears
empty or without that voice-part; because both are intolerable
defects. Si guardi ancora, di non seguitare quel si (da
buoni) biasmato stile, di cantar si forte, che piu forte cantar non
possa. Be alert also not to follow that style, condemned
by good singers, of singing so loud that one couldnt sing
louder. molti hanno voce detta voce di testa; la quale
è da cantanti produtta con un certo suono frangibile, &
il frangente è una certa cosa che per ogni poco si sente; e
però si avertiscono a moderarglila; sì perche non
habbiano da superare gli altri; sì anco perche la detta voce
di testa il piu delle volte offende many have what is called a head voice, which is
produced by singers with a certain fragile sound, and breaking is a
certain thing which every so often is heard; and yet let them be
advised to moderate it in order not to outstrip the others and also
because this head voice is usually offensive Et quelli che si ritrovano in luoco ove
convengano gridar forte, avertino d'intonar le figure giuste,
allegre, con voce ne forzata ne men lenta; ma con tanto quanto la
natura li concede: perche la forzata voce essendo deffettuosa
sempre offende. ... Similmente nel cantar piano nelle alte non si
debbano forzare se commodamente non vi arivano: perche meglio
è di fingerle, ò di taccerle. And let those who find themselves in a place
where it suits their interests to cry out loud take care to sing
the notes correctly and gaily, and with a voice neither forced nor
slow; but with such strength as nature grants them, because a
forced voice, being defective, always offends. ... Similarly, in
singing high notes quietly one should not force them if they do not
come out conveniently; because it is better to fake or omit them.
(17) Zacconi was a remarkably thorough writer, and his
discussion includes the following references to techniques of
breathing: Due cose si ricercano à chi vuol far
questa professione petto, & gola; petto per poter ... un tanto
numero di figure à giusto termine condurre; gola poi per
poterle agevolmente sumministrare: perche molti non havendo ne
petto ne fiancho, in quattro over sei figure convengano i suoi
disegni interrompere. Two things are to be sought in whoever wishes to
follow this profession: chest and throat; chest in order to be able
to carry to their proper termination ... a large number of notes;
and then throat so that one can render them with ease; since many,
having neither chest nor body [fiancho], in four or six
notes find it convenient to interrupt their melodic designs.
(18) Here the term petto (chest) seems clearly
to refer to the singers respiratory capacity (that is, how much
breath he can muster). But Zacconi also uses another term,
fiancho (literally, flank), and here I think he is evoking the
sensation of work that is felt at the level of the last pairs of
ribs when the belly muscles make a real contribution to the control
of ones respiration in singingwhich is something quite distinct
from (though of course related to) the quantity of breath. For
reasons too elaborate to set out here, (19) the effective use of
these muscles is a technique indispensable for mastering the art of
gorghe and passaggi. At the same time it is a
technique ignored by Garcia, who speaks exclusively in terms of
making the fontanella (the front muscles between the chest
and belly, where the ribs divide) re-enter. (20) Summary. In both camera and
cappella techniques the position of the larynx seems to have
been quite free, and there was nothing of that dark and dramatic
timbre which in Romantic techniques is achieved by keeping the
larynx so low that the tongues ability to differentiate some of the
vowels is rather hampered. A certain degree of rounding in the
vowels was achieved by keeping the jaw somewhat forward (and,
according to Maffei, the tongue always in contact with the lower
front teeth). This contributed to homogeneity of timbre without
limiting the singers ability to project the different vowel
sounds. (Translationby Mark
Lindley) 1 Vicende degli stili del canto dal tempo di
Gluck al 900, in A. Della Corte, Canto e bel canto (Turin,
1933), pp.244-5
2 A good introductory text in English is F. D. Minifie and others,
Normal Aspects of Speech, Hearing, and Language (New York,
1973).
3 See H. M. Brown, Embellishing Sixteenth-century Music
(London, 1976), pp.xi-xii and chaps. I alld 2.
4 An exemplary 18th-century reference to it is in G. B. Mancini,
Riflessioni pratiche sul canto figurato (Milan, 3/1777),
p.11O: Every singer should place the mouth as it is common to do
when one smiles naturally, i.e. in such a way that the upper teeth
are perpendicular to and slightly distanced from the lower (Ogni
cantante deve situar ia sua bocca, come suol situarla, quando
naturalmente sorride, cioé in modo, che i denti di sopra
siano perpendicolarmente, e mediocremente distaccati da quelli di
sotto).
5 M. P. R. Garçia, Traité complet ... (Paris,
1840), chap.3. See also Histoire de l'Académie royale des
sciences (Paris) for the year 1841, note 2 of the entry for 12
April.
6 This is Raoul Hussons technical description from his La voix
chantée (Palis, 1960), pp.127-30. For this and other
vocal techniques see also R. Husson, Physiologie de la
phonation (Paris, 1962), pp.503-6, and A. Wicart, Le
chanteur (Paris, 1944), pp.226-34.
7 M. Uberti and O. Schindler, Contributo alla ricerca di una
vocalità monteverdiana: il colore, Congresso
internazionale sul tema Claudio Monteverdi e il suo tempo:
relazioni e comunicazioni. Venezia, Mantova e Cremona 1968, ed.
R. Monterosso, pp.530-32 It may be of interest that Zacconi, who
defined tremolo as la voce tremante (Prattica di
musica, t.60r), states: The tremolo in music is not compulsory,
but its use not only shows sincerity and ardour but also
embellishes the song (f.54v: Il tremolo nella Musica non
é necessario; ma facendolo oltra che dimostra
sincerità, et ardire; abellisce le cantilene) .
8 See A. Damerini, Coro, in A. Basso ed., La musica (Turin,
1966-7 1), ii, p. 133. See also the lists of performers of the
Cappella Giulia during the years 1571-89, published by G.
Rostirolla in his study La Cappella Giulia in Sdn Pietro negli anni
palestriniani, Atti del convegno di studi palestriniani 1975
(Fondaz, 1977), pp. l72-202, from which it is evident that the
number of singers varied but was always between 13 and 19.
9 A modern edition of the text is in N. Bridgman, Giovanni Camillo
Maffei et sa lettre sur le chant, Revue de musicologie, 38
(1956),pp.10-34.
10 ibid,p.19
11 ibid,p.20
12 I cite with pleasure F. Razzi, Polyphony of the seconda
prattica, EM 8/3 (July 1980), pp.298-311, an article whose
development I witnessed during three years of teaching at the
Istituto Musicale in Pamparato.
13 Bridgman, op cit, p.20
14 ibid, p.28
15 ibid, p.9 From the same passage, H. M. Brown rightly inters (op
cit, p.64) that not everyone could or would improvise
passaggi. 16 t.52v
17 ff:52v-55v. I am reasonably certain that Zacconis voce di
testa was loud, but in any case Caccinis criticism of falsetto
singing may be worth mentioning here (Le nuove musiche (Florence,
1601/2), f:Car): faked voices cannot give rise to the nobility of
good singing, which comes from a natural voice suited to all the
notes (dalle voci finte non può nascere nobiltà di
buon canto: che nascerà da una voce naturale comoda per
tutte le corde).
18 f.58v
19 I discuss this in La tecnica vocale: dispense di anatomia,
fisiologia e fonetica (Parma, 1980).
20 Garcia, Op cit, chap. 4
A few pages later, in chapter 29, Vicentino mentions that in
churches ... one will sing with full voices and with a large number
of singers (nelle chiese ... si canterà con le voci
piene, & con moltitudine de Cantanti). Here we can see a
foreshadowing of the distinction between cappella and
camera singing which Zarlino (and later Zacconi) made explicit.
We should not be misled, incidentally, by the expression
moltitudine de Cantanti. It is merely Vicentinos way of
distinguishing between choral singing and the normal practice for
madrigals of no more than one singer to a part. The musical
resources of the Roman basilicas did not go beyond 16 or 18
singers, including the three or four boys who took the cantus part.
(8) These singers were paid, and obviously a small choir was more
economical than a large one.
In the same chapter Vicentino also remarks that in the bass parts
the full-voiced singer cannot manage to articulate quickly
(nelle parti basse il Cantante à voce piena non possi
accommodarsi à proferirla correndo). The only
physiologically reasonable explanation for this remark is that
choral singers must have compensated for the imbalance between
their small number and the need to fill the church with sound by
means of a vocal technique which involved enough of an active
contraction of the vocal cords (and probably also of muscles
outside the larynx) to hamper their agility in the bass
tessitura.
One of our most important sources of information about Renaissance
vocal techniques is a letter on singing addressed by Camillo Maffei
to the Count of Alta Villa and published in Naples in 1562. (9)
Some of Maffeis scientific explanations are by modern standards
quaintly misinformed (not to say fantastic), and some approximate
to the truth in a manner that may have involved a certain amount of
luck. At one point Maffei says, for instance, that the place where
passaggi are produced is that very one in which the voice is
formed; (10) and vocal agility does in fact depend upon the ability
of muscles within the larynx to modify rapidly the tension
of the vocal cords. (The sensation is well known to experienced
singers.) Even a sceptic, however, must grant the value of Maffeis
quite precise statements relating to articulation. Two of these
occur amongst Maffeis rules on the singing of
gorgheggi:
In another set of rules Maffei includes a discussion of some of the
Italian vowels:
Anyone who reads the whole letter can tell that it is about
camera singing. In another letter Maffei showed himself aware
that cappella singing was different when he remarked that
In his Prattica di musica (Venice, 1592) Ludovico Zacconi,
like Zarlino a generation before, distinguishes explicitly between
soft camera and loud cappella singing:
In camera singing the clarity of the vowels was further
helped by not opening the mouth much more than in speaking. In
cappella singing the mouth was opened wider for a bigger sound:
the slight loss of clarity in the vowels was no doubt less damaging
in liturgical music, where the listener was likely to know the
words already and so needed only to recognize them, than it would
have been in madrigals and dramatic music, where the poetry was, at
this point in the history of Italian music, often of paramount
importance and extraordinary quality.
At the same time, the timbre of cappella singing probably
sounded less homogeneous, in one important sense, than that of
camera singing, because it was sufficiently loud and energetic
to include some brilliant or harsh harmonics in the frequency
range, above 3,000 Hz, where the ear is particularly sensitive (and
where an infants squalling is concentrated).
Cappella singing was basically full voiced and forte in
character (though never stentorian), and our concept of a
cappella music should be in keeping with this fact. The
dynamics of camera singing ranged freely from
pianissimo to forte (or in modern terms mezzo
forte). Its expressivity was often so intimately bound up with
the timbres and sentiments of Italian poetry that the effect would
have been quite lost in the acoustics of a large church. The
expressive resources of a cappella music, on the other hand,
were more a matter of such compositional features as elegant
cadences, finely constructed lines and sophisticated placing of
imitative entries and changes of texture: the singers main task was
to project these features by means of good phrasing and agogics,
subtle rhythmic licence, and relatively moderate shadings of
loudness and timbre. (It is no accident that the church exalted
Palestrinas style more than Victorias, even though Victorias music
was on the whole more warmly expressive.) One often associates
dramatic intensity with loudness, but for Renaissance singing the
equation has to be reversed. Camera singing was more
dramatic than cappella singing because singers who were not
obliged to use an active contraction of the vocal cords in order to
make themselves heardnot even when changing to the upper part of
their rangecould manipulate their voices with more suppleness for
agility in melodic embellishments (which were one of the principal
means of expression in secular music, but unwelcome in liturgical
music) and also for dramatic shadings of timbre, vibrato and
dynamics.