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Bach's Tenor, Modern Ideology and Historical BACH’S TENOR, MODERN IDEOLOGY AND HISTORICAL PRACTICE: RE-EXAMINING VOCAL TECHNIQUES FOR THE UPPER REGISTER BY MICAH LAMB Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2015 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee __________________________________________ Daniel Melamed, Research Director __________________________________________ Wendy Gillespie, Chair __________________________________________ Nigel North __________________________________________ Elisabeth Wright 27 April 2015 ii Acknowledgements I would like to thank the members of my research committee for their help and support in bringing this project to fruition and extend my gratitude to Dr. Daniel Melamed, research director, for his patience and words of encouragement. I owe a huge thank you to my wife Alex for her support during the entire doctoral program and for diligently keeping me on task while writing this document. I could not have done it without her help. iii Table of Contents Acknowledgements ......................................................................................................................... iii Table of Contents ............................................................................................................................ iv List of Examples ............................................................................................................................. vi List of Charts ................................................................................................................................ viii List of Tables .................................................................................................................................. ix List of Appendices ........................................................................................................................... x Chapter I: Introduction ..................................................................................................................... 1 Historical Evidence .................................................................................................................. 2 The Modern Tenor Paradigm ................................................................................................... 3 Efficiency ............................................................................................................................. 3 Legitimacy ........................................................................................................................... 5 Commercial Viability ........................................................................................................... 9 Chapter 2: Voice Science and Vocal Registration ......................................................................... 12 Vocal Registration Events ...................................................................................................... 15 Vocal Registers and Tone Quality ......................................................................................... 17 Register Equalization ............................................................................................................. 18 Chapter 3: Ideological Obstacles to Tenor Falsetto Singing .......................................................... 21 Gender .................................................................................................................................... 21 Social Identity ........................................................................................................................ 23 Nationality.............................................................................................................................. 26 Musical Darwinism ............................................................................................................ 28 A Case Study – The Neapolitan School ............................................................................. 28 Chapter 4: Historical Sources and Circumstances ......................................................................... 33 15th and 16th Century Sources ................................................................................................ 33 iv 17th Century Sources .............................................................................................................. 36 Music Education and Bach’s Singers..................................................................................... 38 Bach’s Singers in 1723 ...................................................................................................... 38 Bach’s Tenors in 2014 ....................................................................................................... 39 Vocal Training ................................................................................................................... 40 Goal of Music Pedagogy ........................................................................................................ 42 17th & 18th Century Sources ................................................................................................... 44 Pier Francesco Tosi ............................................................................................................ 45 Johann Friedrich Agricola .................................................................................................. 46 Johann Joachim Quantz ..................................................................................................... 56 Johann Adam Hiller ........................................................................................................... 57 Excursus: Other National Traditions ......................................................................................... 59 France ..................................................................................................................................... 59 Italy ........................................................................................................................................ 63 Chapter 5: Performing Conditions in Early 18th Century Leipzig ................................................. 67 Range ..................................................................................................................................... 67 Tessitura ................................................................................................................................. 69 Coloratura .............................................................................................................................. 74 Register Transition ................................................................................................................. 78 Sustained Tones ..................................................................................................................... 83 Text Declamation ................................................................................................................... 86 Performing Pitch .................................................................................................................... 89 Instrumental Ensemble ........................................................................................................... 91 Performance Aesthetic ........................................................................................................... 92 Chapter 6: Conclusion.................................................................................................................... 98 Bibliography ................................................................................................................................ 104 v List of Examples Example 1. “Christenkinder, freuet euch” BWV 40/7, mm. 15-18. Coloratura notes written on or above the primo passaggio are marked in red. ....................................................................... 76 Example 2. “Die schäumenden Wellen von Belials Bächen” BWV 81/3, mm. 29-32. Thirty- second note coloratura notes written on or above the primo passaggio are marked in red. ... 76 Example 3. “Es Reißet euch ein schrecklich Ende” BWV 90/1, mm. 72-84. Coloratura involving register changes by step and leap. Notes in the zona di passaggio are marked in red. .......... 76 Example 4. “Stürmt nur, stürmt, ihr Trübsalswetter” BWV 153/6, mm. 18-23. Thirty-second note coloratura notes written on or above the primo passaggio are marked in red. ....................... 77 Example 5. “Eile Herz, voll Freudigkeit” BWV 83/3, mm. 10-19. Extended passage of coloratura moving from modal voice into the zona di passaggio. Notes in the zona di passaggio are marked in red. ........................................................................................................................ 77 Example 6. “Gott Hilft gewiß,” BWV 86/5, mm. 33-35. Register transition from modal voice to above the secondo passaggio is marked in red. ..................................................................... 79 Example 7. “Ach, schlage doch bald, selge Stunde,” BWV 95/5, mm. 25-26; 45-47. Register transitions from modal voice to the zona di passaggio are marked in red. ............................ 79 Example 8. “Ich eile, die Lehren,” BWV 148/2, mm. 57-59. Register transitions from modal voice to the zona di passaggio are marked
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