(pl. flores) (Lat.: ‘flower’; Fr. fleuretis)
A species of vocal embellishment. Jerome of Moravia (late 13th century) gave this definition: ‘est autem flos armonicus decora vocis sive soni celerrima procellarisque vibratio’ – an ‘ornamental vibration of the voice, or a very rapid rippling of the sound’ – that is, a shake. He described three types of ‘flowers’: long, open and sudden. ‘Long flowers’ resemble a slow vibrato, taking the note a semitone above the note to be graced. ‘Open flowers’ are slow, taking the tone below. ‘Sudden flowers’ begin slowly and gradually gather speed, using the interval of a semitone. Describing these ornaments in connection with plainchant, the author warned against applying them indiscriminately. Five notes are singled out for embellishment: the first, last and penultimate notes to be graced with long flowers, the second note of the first syllable with open flowers, and the long plica with sudden flowers. Singers may insert several short notes between this ornamental plica and the next note ‘to make the melody more elegant’....
(Fr.: ‘carrying of the voice’)
In Baroque vocal and instrumental music, an appoggiatura, particularly one that resolves upwards by a tone or semitone. Deriving from late 16th-century Italian improvisatory practice – Bovicelli's Regole, passaggi di musica, madrigali et motetti passeggiati (1594/R) contains written-out examples – it became one of the most important graces of French Baroque music. In France it was rarely printed before the late 17th century, but was left to the performer to add extempore. Bacilly explained in his Remarques curieuses sur l'art de bien chanter (1668/R, 4/1681; Eng. trans., 1968) that the accessory note anticipated the beat and took value from the preceding note. Perfection, he continued, lay in its also taking ‘some of the value’ of the note of resolution, as this enabled one to linger on the accessory note.
In his Méthode claire, certaine et facile pour apprendre à chanter la musique (...
revised by Anne Beetem Acker
Sound-effects device developed by the fiction writer and radio operator Gilbert M. Wright in Los Angeles in 1939 and manufactured by Wright-Sonovox, which was affiliated with the radio station representatives Free & Peters in Chicago. A sound is transmitted to the larynx of a trained ‘articulator’ through two earphone-sized loudspeakers that are placed against the throat; the sound is modified by movements of the tongue and lips to produce speech-like articulations. The Sonovox was much used for radio drama and films, including Walt Disney’s The Reluctant Dragon (1941) and Leith Stevens’s score for the film Destination Moon (1950). The voice of Casey the Train in Walt Disney’s Dumbo (1941) was created using the Sonovox. It was very popular for radio station identifications and advertising jingles. The rock band The Who used the Sonovox on their song ‘Radio London’ (1967), in which guitar chords seem to speak the days of the week. Later it was replaced by the more versatile vocoder....
A textless vocal exercise or concert piece to be sung to one or more vowels. The vocalise derives from two traditions. One dates from the early 19th century, when it became customary to perform and publish solfeggi and essercizi with piano accompaniment (e.g. Domenico Corri, The Singer's Preceptor, 1810; Manuel García, Traité complet de l’art du chant, 1840–47/R); by the middle of the century there were numerous publications of this kind. The singing instructor Heinrich Panofka, for example, published during his years in Paris five volumes of vocalises. The idea was that with a piano accompaniment even the most mechanical exercises would be performed in a more artistic manner. The other tradition was that of using existing compositions as vocal exercises without words. In 1755 Jean-Antoine Bérard provided, as a supplement to his L’art du chant, 20 compositions by Lully, Rameau and others, selected for the technical problems they offered (‘pour les sons tendres, légers, maniérés, majestueux’ etc.), and he added specific instructions as to how these problems were to be solved. In the 19th century most instruction manuals for the voice included original compositions specially composed for the same purpose: ‘melodies without words, offering the pupil a union of all the difficulties of song’ (García). Unlike the accompanied ...