Changing vocal style and technique in Britain during the long nineteenth century

This thesis presents an overview of solo singing styles and techniques prevalent in Britain
during the long nineteenth century, drawing upon evidence from didactic writing,
correspondence, critical review, biography, voice science research, and early acoustic
recordings in order to analyse changing approaches to voice production and musical
expression. The discussion of vocal style is underpinned by discussion of a changing
approach to larynx height, and concepts of chiaroscuro, bel canto, and expression are
reconsidered in the light of technical discussion. The origins of the continuous larynxlowering
now expected of the modern operatic singer are recognised in early nineteenthcentury
voice science literature, but notable trends in selective larynx-lowering are
identified from the mid nineteenth century onwards. This confirms the ideal of continuous
larynx-lowering as a twentieth-century development, and has significant repercussions for
current approaches to historically-informed performance and the singing of ‘early music’.
The changing use of vibrato effects, portamento and messa di voce, and the application of
expressive devices more generally throughout this period are considered within the context
of nineteenth-century approaches to voice production.
This thesis is accompanied by a four-CD portfolio of recordings that demonstrates
experimentation with nineteenth-century styles and voice production techniques, the
emulation of early recorded vocal performances, and the realisation of nineteenth-century
repertoire using historically-appropriate approaches to style and technique. Repertoire
includes didactic material, operatic arias (including those by ‘bel canto’ composers),
repertoire annotated by renowned pedagogue Manuel Garcia II, and works sung by
celebrated nineteenth-century performers and early recording artists. Also included is
experimentation with audio filtering that seeks to emulate the limited frequency capture of
early acoustic recording apparatus with a view to further understanding the evidence of
nineteenth-century voices on record.