Few are as respectful of the Italian traditions as I am, mainly because the most I learned about vocal technique was from an old Italian mezzo who claimed to be able to trace an unbroken line of her teachers back to the time of Tosi. She could not tell you where the vocal folds were and nothing concrete about anatomy, but it did not matter, for she knew how everything felt and she could communicate it. Much of what I learn in science confirms her ideas. So I am not only respectful of those traditions but spend much time trying to find out what they mean concretely.
It is for that reason that I find the tendency to toss around Italian terminology, as if a Holy Grail that requires no explanation, disturbing at least. The Italian traditions are only worthwhile if we are able to understand the entire history, including where misunderstandings and disagreements cause splits from the original traditions. The aim of the best vocal scientists is to make sense of those terminologies with empirical information for there is truth to be found in them, and the traditions are written in the language of singing.
I am getting to the point where the science is actually making sense of the paradoxical nature of the jargon.
Voix Claire makes a wonderful point in the earlier thread when she explains that "imposto" should facilitate breath support. The truth is "placement" (impostazione), "support" (appoggio), etc, always beg the question of "the chicken or the egg". The feeling of support, or the sensation of placement, etc are based on correct coordination of the few issues for which the singer is consciously responsible: engagement of the core musculature, full breath intake, balance onset (resulting in a tone that is clear and flowing, and neither breathy nor pressed)and the best vowel formation possible that is both intelligible and reinforces the fold vibration acoustically instead of hinder it.
By adhering to these basic principles that most good and experienced teachers agree on, we can begin to make sense of the sensory information that the Italian masters passed on, as well as discovering where their language fails.
It is no less silly to take the old Italian writings literally as it is to take Jesus' parables in the Bible literally.
Singing is a living thing and we need to observe the importance of tradition without being limited by it.
Be not the slave of your own past. Plunge into the sublime seas, dive deep and swim far, so you shall come back with self-respect, with new power, with an advanced experience that shall explain and overlook the old.
Ralph Waldo Emerson