The Vibrato Controversy
Bibliographic Data
| ID | 19463518 |
|---|---|
| Authors | Frederick Neumann (Praxis für Humangenetik, corresponding author) |
| Year | 1991 |
| Volume | 4 |
| Issue | 1 |
| Pages | 14-27 |
| Publication date | 1991-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Performance Practice Review (JOURNAL) |
| Journal identifiers | ISSN: 1044-1638 • E-ISSN: 2166-8205 |
| Publisher | Claremont Colleges Library (PUBLISHER • US) |
| DOI | 10.5642/perfpr.199104.01.3 |
| OpenAlex | W1964995830 |
| Language | EN |
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
| Citation velocity | historical |
|---|---|
| Highly cited | No |