Dissertation:

Reexamining Portamento as an Expressive Resource in Choral Music, Ca. 1840–1940 

Abstract: For the past several decades, the historically informed performance (HIP) movement has had a significant impact on music in both study and performance. Initially, HIP emphasized early music, however, in recent years, musicians are beginning to reconsider how they perform Classical- and Romantic-era repertoire as well. Generally speaking, the modern choral conducting tradition neglects the use of portamento for all styles despite evidence that it would have, most probably, been in the imagination of Romantic-era composers. Furthermore, early recordings provide evidence that portamento was present in the musical performance of that exact generation of musicians. Modern-day performances that aim at authenticity and yet leave portamento out of the picture entirely, may very well be choosing to ignore written and recorded data. Potter opines, “A significant part of the early music agenda was to strip away the vulgarity, excess, and perceived incompetence associated with bizarre vocal quirks such as portamento and vibrato. It did not occur to anyone that this might involve the rejection of a living tradition and that singers might be in denial about their own vocal past.” This project aims to prove that, despite its fall from fashion, portamento is a valid technique and expressive resource, especially within the realm of Romantic-era repertoire. 

1. John Potter, "Beggar at the Door: The Rise and Fall of Portamento in Singing,” Music and Letters 87 (2006): 538.