Intonation in relation to vibrato?
Date: October 3, 2014
Could any of you point me to sources that consider the relationship between intonation and vibrato in choral contexts, particularly vertical intonation (i.e., tuning between the parts)? It seems to me like high levels of vibrato would usually lead to problems with intonation, but is this always the case? Are there any scientific studies of the relationship? Or more anecdotal ones, perhaps from people like Shaw, Herford, etc., or even earlier authors? To give you some context, I'm writing about reviews of the Choir of King's College, Cambridge from the 1930s. These reviews emphasize the choir's impeccable intonation, and I'm wondering if perhaps in saying this the reviewers are also indirectly praising the limited amount of vibrato in the choir's sound (if you listen to the earliest recordings of the choir from 1927, it is evident that they sang with less vibrato than other choirs at the time, for instance the Temple Church choir in London).
I'd greatly appreciate your help with these questions.
Ph.D. Candidate and Instructor in Musicology
Schulich School of Music
555 Sherbrooke Street West
Montreal, QC H3A 1E3
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