Untitled

Cacophony!

Reimagining Historical Voices

  • Blog

  • Projects

  • About Cacophony!

  • Teaching

  • Links

  • More

    Use tab to navigate through the menu items.
    • Facebook
    • All Posts
    • Pre-1500
    • 1500-1600
    • 1600-1800
    • 1800-1900
    • 1900-2000
    Search
    Tim Braithwaite

    Morell Mackenzie on Those who Pretend to See with their Fingers (1886)

    'It cannot be too clearly understood at the outset that the voice is generated solely in the larynx. It is necessary to insist on this...

    Tim Braithwaite

    L’Abbé de Condillac on the Melody of Declamation and Recitative (1788)

    ‘Although our declamation cannot be notated, it seems to me that one might be able to preserve it in some way. It would be sufficient if...

    Tim Braithwaite

    Georg Sulzer on the Performance of Recitative

    ‘There is a type of passionate delivery of speech that stands midway between actual song and common declamation. It occurs, like song, in...

    Tim Braithwaite

    Jean-Baptiste Faure on the Voix Sombrée and Raising the Head for High Notes (1886)

    [pp. 44-45] 'No historical method mentions this type of voice [the voix sombrée] ; it is only since Gilbert Duprez's debut that we have...

    Tim Braithwaite

    The Sounds of a Town Church-Choir in 1861

    ‘Turn into a town Church, for instance, and what does one hear? Fifty charity children squalling their little windpipes to pieces in...

    Tim Braithwaite

    Some Conclusions on Early Recording Technology and the Role of Historical Vocal Pedagogy

    'While this study has shown that the wax cylinder phonograph system significantly alters spectral measurements of the voice output...

    Tim Braithwaite

    Anton Schindler’s Surprise at a Performance of a Bach Motet at Leipzig’s Thomasschule (1843)

    ‘At 5 o'clock I attended a rehearsal at the Thomas School. The cantor Hauptmann had the grand double-choir motet (by Bach) Singet dem...

    Tim Braithwaite

    A Recollection of Domenico Donzelli’s Singing in an 1829 Performance of Rossini’s Otello:

    On the occasion of this remarkable operatic event, the most accomplished tenore robusto of his times, Dozelli, was the Otello to...

    Tim Braithwaite

    Richard Wagner’s Description of his Musical Choices in his Edition of Palestrina’s ‘Stabat Mater’

    ‘I offer you namely my arrangement of the famous Stabat mater by Palestrina, in the original manuscript of which there were no expression...

    Tim Braithwaite

    John Curwen Giving a Preliminary Lesson in Sound Production for Choristers (1852)

    ‘2. To produce a good note, the singer should be in an easy posture, with his head upright and his shoulders back, so as to allow the...

    Tim Braithwaite

    Vincenzo Manfredini on the use of Ornaments in Recitative (1797)

    ‘A great defect into which some of the best modern singers have fallen is that of having introduced florid ornaments into recitative,...

    Tim Braithwaite

    The Affective use of Timbre According to Garcia and Demonstrated by Fernando de Lucia (1902)

    ‘A few trials will suffice to prove that every shade of passion, however slight, will effect in a peculiar way the physical condition,...

    Tim Braithwaite

    Leo Kofler on the Artistic use of Larynx Height in 'The Old Italian School of Singing’ (1883)

    'In regard to the accommodation of the melody to the natural pitch of the vowel sounds, the composer is assisted by the spirit of the...

    Tim Braithwaite

    A Fanciful Description of Palestrina Conducting his Missa Papae Marcelli from 1912

    ‘How often may the master [Palestrina] himself have conducted it [the Missa Papae Marcelli] with sublime enthusiasm, full of the fire...

    Tim Braithwaite

    Clive Brown on ‘The Yawning Chasm between Contemporary Practice and Historical Evidence’ (2010):

    ‘The reasons why professional musicians have failed to apply our very extensive and ever-increasing knowledge of Classical- and...

    Tim Braithwaite

    Dr. Zechariah Buck’s (1798-1879) Methods of Teaching Choristers at Norwich Cathedral

    The time table of daily duty was, 9 to 9.45, scale practice; 10 to 11, morning service; 11 to 12.30 or 1, music practice; 2 to 3.45,...

    Tim Braithwaite

    Roger Freitas on Modern Representations of Historical Singing:

    ‘To many in the singing profession, in fact, an investigation of past approaches seems irrelevant. Even a casual survey of recent...

    Tim Braithwaite

    Manuel Garcia on the use of Sobbing and an Annotated Recitative from Rossini’s Otello:

    'The fragment of recitative [below] has two effects. By the words, “Io credeva che alcuno,” Desdemona expresses the depression that...

    Tim Braithwaite

    Johann Samuel Petri’s Advice for Teaching a Congregation to Harmonise a Chorale Extempore (1767)

    Question. How can one remedy the fault that a choir, when it sings a well-known church chorale without sheet music, as must often happen,...

    Tim Braithwaite

    Manuel Garcia on Changing or Replacing Words when Singing:

    In altering or re-arranging words, or syllables, care should be taken to retain and mark the measure or accent of a melody, and only...

    1
    23
     

    Cacophony!

    tbraithwaite92@gmail.com