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The Vibrato Controversy

Datos Bibliográficos

ID19463518
AutoresFrederick Neumann (Praxis für Humangenetik, autor de correspondencia)
Año1991
Volumen4
Número1
Páginas14-27
Fecha de publicación1991-01-01
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaPerformance Practice Review (JOURNAL)
Identificadores de la revistaISSN: 1044-1638 • E-ISSN: 2166-8205
EditorialClaremont Colleges Library (PUBLISHER • US)
DOI10.5642/perfpr.199104.01.3
OpenAlexW1964995830
IdiomaEN

Today's early music specialists either ban the use of vibrato or restrict it drastically. This position suffers from three principal weaknesses: the failure to understand the nature of a well-produced vibrato in which the so-called impurities of pitch become inaudible above a certain threshold of speed, through a mysterious brain function (comparable to that involved in stereophonic sound or stereoscopic vision); a misinterpretation of sources; and an unawareness of extensive historical evidence for vibrato use through four centuries, culminating in Mozart's eulogy of a fine vibrato for voice and instruments

Acoustics · Art · Musical · Musical tone · Physics · Singing · Timbre · Vibrato · Visual arts · Diverse Musicological Studies · Music Technology and Sound Studies · Musicology and Musical Analysis

Velocidad de citaciónhistorical
Altamente citadoNo

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