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|Title:||"Alla tromba della fama" (To the trumpet of fame): the impact of instrumental idiom on vocal performance practice in trumpet arias|
|Publisher:||University of Sydney.|
Sydney Conservatorium of Music
|Abstract:||Manchester, Cassone, Burkhart and Jacobs, amongst many others, have argued for the commonly accepted theory that the historically informed trumpeter of baroque repertoire should imitate the voice. This is based upon the following statement by author of one of the major historical treatises on playing the trumpet, J.E. Altenburg: ‘It is well known the human voice is supposed to serve as the model for all instruments thus the clarino player should try to imitate it as much as possible, and should seek to bring forth the so-‐‑called cantabile on his instrument’1. There is certainly much evidence which does support this theory, however recent research in neurological science, along with several major treatises like Tosi’s Opinioni de'ʹ cantori antichi e moderni and Quantz’ ‘Versuch einer Anweisung die Flöte traversiere zu spielen’ suggest that around 1700-‐‑30 the best singers are likely also to have matched the character and sound of the instruments with which they were paired. The period 1700-‐‑1730 was a critical one in the developing relationship between instruments and voice in Western music. In particular, the trumpet was at the height of its fame and the Venetian trumpet aria allowed for some of the most breathtaking displays of musicianship and musical flair in the history of opera. Before long, many prominent composers including Handel, Vivaldi, Scarlatti and Albinoni were finding the trumpet aria useful and the trend spread across Europe. This dissertation focuses on how the trumpet aria may have affected the performance in particular of one notable singer, Nicola Grimaldi, known as Nicolini. A selection of arias composed for Nicolini and his contemporaries is used to highlight the predominantly imitative nature of the genre.|
|Rights and Permissions:||The author retains copyright of this thesis. It may only be used for the purposes of research and study. It must not be used for any other purposes and may not be transmitted or shared with others without prior permission.|
|Type of Work:||Masters Thesis|
|Type of Publication:||Master of Music M.Mus.|
|Appears in Collections:||Sydney Digital Theses (Open Access)|
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|SID 309341418 David Crowden MMus(Performance) Thesis.pdf||20.85 MB||Adobe PDF||View/Open|
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