Persidangan Pendidikan Muzik Malaysia 2005 (MusEd05) THE PEDAGOGICAL APPLICATION OF APPOGGIATURA FOR BAROQUE V0CAL MUSIC

Phang Kong Chien Faculty of Education Universiti Teknologi Mara 40450, Shah Alam, Selangor, Malaysia e-mail: kcphang@hotmail.com

Abstract: The present study investigated the profile of appoggiatura and its application in music performance using two main treatises, Opinioni decantori antici, e moderni by Pier Francesco Tosi (1723; translated by Galliard as Observations on the Florid Song) and Versuch einer Anweisung die Flote traversiere zu spielen by Johann Joachim Quantz (1752; translated by Reilly as On Playing the Flute). It was found that appoggiatura received a widespread application in music composition during the 18th century. The appoggiatura served as an essential ornament in embellishing a Baroque air. The present performance of Baroque music is conducted without the knowledge of applying appoggiatura, thereby leading to a dubious and tasteless translation of such arts. Thus, it is envisaged that the use of appoggiatura in the required manner is needed to be imparted to music performers through an effective music education programme. Keywords: Appoggiatura; Baroque Music; Music Education.

Introduction

Appoggiatura comes from the Italian word appoggiare which means to lean. The French express it by two different terms, port de voix and appuyer. Appoggiatura is one of the most common baroque ornaments and meant to be performed on the beat, and often resulting in an intended dissonance which has an effect to heighten the expression of a melodic phrase. Both Quantz (1752) and Tosi (1723) believe that appoggiaturas are both ornamental and essential in Baroque music, without them, a melody would sound meager and plain. As a basic rule, no appoggiatura can be added at the beginning of a piece because there must be a note preceding from where it leads (Tosi, 1723).

Persidangan Pendidikan Muzik Malaysia 2005 (MusEd05) From my investigation of both treatises, an appoggiatura can exist from above or below a principal note and sometimes fill in the intervals of certain melodic phrases. If the preceding note stands one or two steps higher than the principal note, before which the appoggiatura is found, the appoggiatura is taken from above which one could name it upper appoggiatura; on the other hand, if the preceding note is lower than the principal note, the appoggiatura must be taken from below which one could call it lower appoggiatura. However, in the case of an appoggiatura is used to fill in intervals, it is named the passing appoggiatura. In most cases, passing appoggiaturas occur when several notes of the same value descend in leaps of thirds, and they usually function as accented notes, or the notes on the downbeat. However, Quantz also permitted flexibility that the passing appoggiaturas do not totally need to happen in the leaps of thirds. He widened the scope of performing the piece according to the affect.

For generations, baroque vocal music has been an important form of medium for voice teacher to train voice students. The vast reservoir of Baroque vocal music from Bach to Vivaldi is an essential repertoire list for many new singers. However, many Malaysian voice students at present seem unaware of the appropriate manner to perform their pieces, especially in the manner of applying an appoggiatura. Thus, my present study set to report this imperfection of performance and propose means for improvement.

Experimental Voice students of all levels of seniority, at certain period of time, have been assigned Baroque vocal music as exam or study pieces. The propensity of voice students making errors in applying appoggiaturas to their pieces was recorded. The nature of errors in applying appoggiaturas was examined. The profile of students usage of appoggiaturas was compared against that of reported by two treatises by Tosi (1723) and Quantz (1752).

Persidangan Pendidikan Muzik Malaysia 2005 (MusEd05)

Results and Discussion Teaching Observation From my teaching observation, over two third of my voice students did not know where and how to add an appoggiatura to their Baroque pieces, either from above or below, and they also did not aware of the permitted intervals for such a practice. For those who attempted appoggiaturas, they often mistakably repeated the preceding note and treated it as an appoggiatura in the intervals of thirds instead of using a passing appoggiatura. In fact, they did not realize such a practice can only be applied to intervals of perfect fourth, perfect fifth and minor sixth. At times, they were also doubtful when they encountered other chromatic intervals and major sixth as well. They were not sure if the preceding note of such intervals can be repeated and treated as an appoggiatura. Situations were worsened when they were also unsure of how to sing it. They usually have many questions with the value division for the appoggiatura, and with the rest after the principal note as well as the dotted principal note itself.

Reasons of Misinterpretation of Appoggiatura In general, my research found three main reasons contribute to todays faulty performances of Baroque music, especially the application of appoggiaturas. The first and foremost reason lies closely with the singers themselves. In many cases, singers, both professionals and amateurs, simply want to show off their best high notes and add ornaments, including appoggiaturas, in wrong places with the intention to get maximum applause. According to Roche (1985), many of them seem to have no knowledge about the use and effect of ornaments, which can be considered dubious and tasteless. Further support comes from Dean and Knapp (1987) when they wrote, (conductors) and singers, aware that much matters were left to the taste of the individual, have assumed a comprehensive license to do whatever they please, recomposing the vocal line in the da capo sections, interpolating long and grotesquely elaborate cadenzas, and sometimes defacing the A section so that the melody is never heard as written. The individualistic

Persidangan Pendidikan Muzik Malaysia 2005 (MusEd05) preferences in the use of ornaments, including appoggiaturas, can really make the situation more confusing since each of them might come up with their own distorted rendition and think it the best but in actuality is totally unacceptable from the appropriate performance practice established by that particular period. Secondly, editors should bear some of the criticism. Roche (1985) stated many editors too often are prone to alter the original score to suit either their own preferences or a tradition set up by the singers. As a result, there are many different altered versions of unauthoritative editions published. For one obvious example, in some editions of Handels Messiah, Thy Rebuke Hath Broken His Heart has an appoggiatura stylelessly printed which made an ugly clash with the strings. Besides that, concerns over whether the ornaments are written by the composer himself or by someone else also arise. Many were surprised when research proves that John C. Smith, who was Handels friend, business manager and chief secretary, wrote out a majority of Handels music. Thus, this also creates untasteful and faulty performances when for the singers sing the wrong edition of ornaments (Beeks, 1985). So, to avoid the above-mentioned problems, a singer or a conductor might perhaps think that the best and safest way to perform a Baroque piece is to sing or conduct the piece as exactly printed without adding any ornaments, but that is a big no-no. According to Dean (1987), there is one Deutsche Grammophon recording of Giulio Cesare under Karl Richter, sung complete without decoration whatever is definitely unacceptable. We have no more doubts that ornamentation must take place in Baroque music as two main treatises by Tosi and Quantz described the appropriate practices of that period. The unwritten graces and ornaments are considered an essential component of the style; without them, the music sounds bare, flat and tedious, especially in da capo repeats.

Conclusion Over two third of the voice students make errors when applying appoggiaturas to their Baroque pieces. Therefore, music education is important to eradicate such errors which may bring about faulty performances if not corrected, as a result of the singers ignorance of over elaborating a piece or deliberate omission of the ornaments as well as the editors carelessness in editing.

Persidangan Pendidikan Muzik Malaysia 2005 (MusEd05)

References

Beeks, Graydon. Some Thoughts on Performing Messiah. American Choral Review. 27/2-3 April-July 1985:20-30.

Dean, Winton and John Merill Knapp. Handels Operas 1704-1726. Oxford: Clarendon, 1987.

Quantz, J. Johann. On Playing the Flute. Translated by Edward Reilly. New York: The Free Press, 1966.

Roche, Elizabeth. Handels Appogiaturas: A Tradition Destroyed. Early Music. 13/3 August 1985: 408-10.

Tosi, F. Pier. Observation on the Florid Song. Translated by Mr. Galliard. London: Stainer & Bell, 1987.