The chapter discusses how, once the solfeggio syllables were ingrained through spoken solfeggio, apprentices would be taught hundreds of different ways to sing them. The real business of learning to sing and make music thus begins in this chapter with the sung realization of fundamental syllable-notes. It takes the oft-told story of how Porpora confined all his singing exercises to one piece of paper to represent a poetically condensed but fundamentally accurate description of the eighteenth-century Neapolitan method of solfeggio training. Fundamental to this were “traits of vocalization,” short lines added above the melody in manuscripts to indicate changes of syllable. They were realized in one of two ways: either the first syllable was prolonged through the vocalized diminutions (according to the Amen rule) or the last syllable was anticipated by the diminutions (according to the Appoggiatura rule).
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