The last 20 years have been crucial for 18th-century musicology. Robert Gjerdingen’s studies have focused on a key feature of 18th-century music that has completely changed our understanding of the Baroque repertory: schematic thinking. Yet discovering its traces still constitutes a demanding task. This article aims to contribute to and broaden this field of research by analysing a particular group of 18th-century Neapolitan manuscripts of sacred music through the lens of solfeggio. Related scores for the use of individual interpreters include summary annotations of pre-composed vocal cadenzas, perhaps added by the singers themselves. If analysed through solfeggio theory, it appears that these are built over simple solfeggio patterns, suggesting that early 18th-century Neapolitan vocal improvisation was conceived schematically. The article will substantiate this claim through three case studies in the form of sacred compositions by Gennaro and Gaetano Manna: ‘Et vos inferni furiae’, ‘O quam silva’ and the Oratorio a 4 per i morti (1770).

中文翻译：

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18 世纪那不勒斯的声乐装饰：Gennaro 和 Gaetano Manna 的神圣作品中预先编曲的华彩乐段中的唱音模式

过去 20 年对 18 世纪的音乐学至关重要。Robert Gjerdingen 的研究集中在 18 世纪音乐的一个关键特征上，它彻底改变了我们对巴洛克曲目的理解：图解式思维。然而，发现它的踪迹仍然是一项艰巨的任务。本文旨在通过视唱法分析一组特定的 18 世纪那不勒斯神圣音乐手稿，从而为这一研究领域做出贡献和拓宽。使用个人口译员的相关乐谱包括预先编曲的声乐华彩段的摘要注释，可能由歌手自己添加。如果通过视唱理论进行分析，似乎这些都是建立在简单的视唱模式之上的，这表明 18 世纪早期的那不勒斯人声即兴创作是示意性地构思的。