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On the Art of Singing$
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Richard Miller

Print publication date: 1996

Print ISBN-13: 9780195098259

Published to Oxford Scholarship Online: May 2015

DOI: 10.1093/acprof:osobl/9780195098259.001.0001

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The Demise of the “Studio Baroque” Vocal Sound

The Demise of the “Studio Baroque” Vocal Sound

Chapter:
42 The Demise of the “Studio Baroque” Vocal Sound
Source:
On the Art of Singing
Author(s):

Richard Miller

Publisher:
Oxford University Press
DOI:10.1093/acprof:osobl/9780195098259.003.0042

This chapter comments on the demise of the “studio Baroque” vocal sound. Twentieth-century “Baroque vocal sound” has come a long way since its inception several decades ago. As in the early stage of any movement, it was to be expected that certain excesses would accumulate. There was a sudden burst of article-writing advising that performance “authenticity” required singers to forget what they had been taught about singing by their voice teachers. They were to “color the voice early Baroque” to match instrumental timbres. A new professionalism has modified the practices of the past few decades regarding authentic Baroque vocal style. Today's professional Baroque instrumentalists are as capable of skillfully playing on their older instruments as they are on modern ones. The renewed vitality of Baroque music means that the demise of the “studio Baroque” vocal sound is not to be lamented.

Keywords:   studio Baroque, vocal sound, performance, authenticity, singing, vocal style, Baroque instrumentalists, instruments, Baroque music

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