RESEARCHER
Nicholas Isherwood has written a DEA thesis for the Ecole des Hautes Etudes en Sciences Sociales on the vocal vibrato. This led to an article for The Journal of Singing on the same subject (see below). The vocal vibrato also became a chapter in Isherwood's book "The Techniques of Singing," published by Bärenreiter Verlag. A French/Italian edition will be released at the end of this year. Other peer reviewed articles include a study of Luigi Nono's "A Floresta," published by LIM, an article on Sylvano Bussotti published by Massimiliano Locanto and Massimiliano Sala and "Schreien und Flüstern" for Vox Humana. He is currently doing research on vocal registers.
The Vocal Vibrato: New Directions
"Voice teachers often believe that only two types of vocal vibrato exist: good and bad. In fact, there is a plethora of different vibratos. Some ofthese have been described (sometimes as flaws) in treatises going back several centuries with quaint names such as Jlatti (flitter), balancement (balance), chevrottement (bleat), l petits trembtements de feu (little fiery tremblings),2 aspirations doaces (soft aspirations), suono Jlautato (flitted sotnd), trillo cavallino (horse trill), or trillo ciprino (goat trill). Others have been borrowed from non-Western vocal techniques. Fine interpreters of all periods and cultures consistently have modified their vibrato rates. Western composers have been notating specific vibratos in their scores since......"
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"Voice teachers often believe that only two types of vocal vibrato exist: good and bad. In fact, there is a plethora of different vibratos. Some ofthese have been described (sometimes as flaws) in treatises going back several centuries with quaint names such as Jlatti (flitter), balancement (balance), chevrottement (bleat), l petits trembtements de feu (little fiery tremblings),2 aspirations doaces (soft aspirations), suono Jlautato (flitted sotnd), trillo cavallino (horse trill), or trillo ciprino (goat trill). Others have been borrowed from non-Western vocal techniques. Fine interpreters of all periods and cultures consistently have modified their vibrato rates. Western composers have been notating specific vibratos in their scores since......"
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in nature: Oregon