I'm fresh out of USC's Early Music Doctoral program where I got to study earlier (earlier than, say, the Classical era) vocal music, and how earlier singers were trained. I'm currently in the SF Bay Area and singing with SF Symphony Chorus. I spend my days applying for professor jobs, tutoring, and programming my ensemble.
The vocal techniques of the past, inferred to have a higher larynx, are often dismissed as inferi... more The vocal techniques of the past, inferred to have a higher larynx, are often dismissed as inferior in quality and volume. According to some scholarship on historical vocal techniques, there is an historical, wrong way to sing and a newer, correct way that is partly determined by the height of the larynx while singing. This thesis examines modern vocal pedagogy's understanding of laryngeal height and compares it to earlier treatises on vocal production: Maffei's discorso, Bérard's L'Art du chant, and two works by Manuel García Jr. There is remarkable similarity in the old and new pedagogy highlighting a faulty premise that the only way to sing today is with a "low" larynx, and that singers of the past sang "incorrectly" with a high larynx. The goal of this thesis is to inspire students of Historically Informed Performance Practice to study modern voice science and to discover how understanding the mechanics of vocal production clarifies the directives found in historical documents on singing.
The vocal techniques of the past, inferred to have a higher larynx, are often dismissed as inferi... more The vocal techniques of the past, inferred to have a higher larynx, are often dismissed as inferior in quality and volume. According to some scholarship on historical vocal techniques, there is an historical, wrong way to sing and a newer, correct way that is partly determined by the height of the larynx while singing. This thesis examines modern vocal pedagogy's understanding of laryngeal height and compares it to earlier treatises on vocal production: Maffei's discorso, Bérard's L'Art du chant, and two works by Manuel García Jr. There is remarkable similarity in the old and new pedagogy highlighting a faulty premise that the only way to sing today is with a "low" larynx, and that singers of the past sang "incorrectly" with a high larynx. The goal of this thesis is to inspire students of Historically Informed Performance Practice to study modern voice science and to discover how understanding the mechanics of vocal production clarifies the directives found in historical documents on singing.
A look at the controversial monody of Antonio Cifra (1584–1629). An article for the Southern Cali... more A look at the controversial monody of Antonio Cifra (1584–1629). An article for the Southern California Early Music News.
The vocal techniques of the past, inferred to have a higher larynx, are often dismissed as inferi... more The vocal techniques of the past, inferred to have a higher larynx, are often dismissed as inferior in quality and volume. According to some scholarship on historical vocal techniques, there is an historical, wrong way to sing and a newer, correct way that is partly determined by the height of the larynx while singing. This thesis examines modern vocal pedagogy's understanding of laryngeal height and compares it to earlier treatises on vocal production: Maffei's discorso, Bérard's L'Art du chant, and two works by Manuel García Jr. There is remarkable similarity in the old and new pedagogy highlighting a faulty premise that the only way to sing today is with a "low" larynx, and that singers of the past sang "incorrectly" with a high larynx. The goal of this thesis is to inspire students of Historically Informed Performance Practice to study modern voice science and to discover how understanding the mechanics of vocal production clarifies the directives found in historical documents on singing.
The vocal techniques of the past, inferred to have a higher larynx, are often dismissed as inferi... more The vocal techniques of the past, inferred to have a higher larynx, are often dismissed as inferior in quality and volume. According to some scholarship on historical vocal techniques, there is an historical, wrong way to sing and a newer, correct way that is partly determined by the height of the larynx while singing. This thesis examines modern vocal pedagogy's understanding of laryngeal height and compares it to earlier treatises on vocal production: Maffei's discorso, Bérard's L'Art du chant, and two works by Manuel García Jr. There is remarkable similarity in the old and new pedagogy highlighting a faulty premise that the only way to sing today is with a "low" larynx, and that singers of the past sang "incorrectly" with a high larynx. The goal of this thesis is to inspire students of Historically Informed Performance Practice to study modern voice science and to discover how understanding the mechanics of vocal production clarifies the directives found in historical documents on singing.
A look at the controversial monody of Antonio Cifra (1584–1629). An article for the Southern Cali... more A look at the controversial monody of Antonio Cifra (1584–1629). An article for the Southern California Early Music News.
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