Abstract
Today's early music specialists either ban the use of vibrato or restrict it drastically. This position suffers from three principal weaknesses: the failure to understand the nature of a well-produced vibrato in which the so-called impurities of pitch become inaudible above a certain threshold of speed, through a mysterious brain function (comparable to that involved in stereophonic sound or stereoscopic vision); a misinterpretation of sources; and an unawareness of extensive historical evidence for vibrato use through four centuries, culminating in Mozart's eulogy of a fine vibrato for voice and instruments.
DOI
10.5642/perfpr.199104.01.3
Recommended Citation
Neumann, Frederick
(1991)
"The Vibrato Controversy,"
Performance Practice Review:
Vol. 4:
No.
1, Article 3.
DOI: 10.5642/perfpr.199104.01.3
Available at:
https://scholarship.claremont.edu/ppr/vol4/iss1/3
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