Messa di Voce: Historical and Theoretical Aspects of Development Vocal Ornament
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Abstract
Vocal performance of the XVII–XVIII centuries music, according to the requirements of ancient masters, involves expression in connection with the embodiment and transmission of affects. In this regard, an important component in forming a solo singer of that time was the mastery of various kinds of ornamentation which served as the basis for expressing the corresponding feelings. For the first time in Russian musicology, the article examines the messa di voce phenomenon (sound milling) in its two constituent aspects: dynamic ornament and the fundamental vocal-technical element in the art of bel canto (it. – beautiful singing).
Currently, in vocal education messa di voce is paid little attention to. In solving topical issues related to the performance of music of this historical period, in particular vocal ornamentation, the author of the proposed work examines the ways of forming messa di voce, analyzes the variants of its vocal reproduction from a historical perspective and draws conclusions about the importance of this technique for improving both the performance technical and expressive sides. The material of the work and conclusions will be useful to singers, reproducing old music for its stylistically correct interpretation, and can also be used in training courses on the Vocal Performance History and the Vocal Styles History at vocal departments of music colleges and university faculties.
Keywords: vocalist training, the Baroque era, historical singing, dynamic ornamentation, messa di voce, ancient music, vocal technique, flexibility of voice, the art of sound chiaroscuro in the Baroque, vocal performance school.
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