|Franceso Lamperti (1811-1892)|
The note emitted from the larynx impinges on the whole of the palate and vibrates toward the back of the head. Such use of the voice never fatigues, never causes huskiness, and allows the complete control and manipulation of the organ that it is a delight to the hearer; that "spinning of the note" to an impalpable thread that is yet audible in the farthest corner of Albert Hall; that lyric sweetness that is a characteristic of Italian Singing.
— From "A Great Singing Master" by "Erica," The Musical Courier, July 6, 1892.
Written by a student of Franceso Lamperti in the last year of his life, the snippet above illustrates another example of the Old Italian School's conception of voice placement, which I regard as the audition and activity of bone conduction. Open Vocal Wisdom and you will encounter this same phenomenon, which modern voice science does not seem to have much interest in studying. Right now, the party line is that the singer's perception of voice placement is an individual and arbitrary matter; and like religion and sex, should not be discussed in polite company. It should be abundantly clear to those reading VoiceTalk that the Lamperti School thought otherwise.