The University of Leeds

Graduate Student, Music

PhD Candidate (Practice Led)

Thesis Title: Changing Vocal Style & Technique in Britain, 1750 - 1850: The Role of the Singer in Historically Informed Performance

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This research aims to do away with the current complacency with singers who perform without reference to performance practice. Current approaches offer a 'quick-fix' for singers, making no attempt to acknowledge historical and regional variation in vocal technique, and instead providing only a brief style overview with which to 'muddle through' a historically informed performance.

Particular reference is made to the ornamentation of arias and the changing use of this musical practice, alongside investigation into the modern understanding of ‘bel canto’ singing, and the historical validity of the concept. This research also explores the the relationship of vocal style to instrumental style, differing approaches to solo and ensemble singing, and the influence of different repertoire or performance situation on vocal style and ornamentation. Other factors raised in sources, such as the role of gesture in vocal performance, will be covered as wider issues of performance style.

A variety of contemporary sources will be used to analyse the way in which such techniques can be used to a) recreate historical performance styles, and b) influence and strengthen modern performances of the repertoire. The research aims to revolutionise the role of the singer in historically informed performances, not only by providing singers with the tools to tackle issues of style and to experiment with technique, but to emphasise the role of the informed singer as a vital part of historically informed performances. The conclusions of this research will enable the promotion of historically informed singing as an integral part of the singer’s tuition, and provide the information necessary to eradicate the blanket approach to performance practice which is offered in many musical institutions.

This research is specialist in addressing the lack of understanding in the teaching of singers, and the need for the field in general to accept the vital importance of singers participating in a historically informed manner. Future work will include practical but detailed guidance for music students, aiming to bring acknowledgement of performance practices more fully into the teaching of soloists (and chorus singers), and to encourage the investigation of performance practices by singers as a matter of course, not a peculiar specialism.

Sarah is the grateful recipient of the 2010 University of Leeds Stanley Burton Scholarship.

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