This paperbound reprint of a 1989 work for teachers of singing, performing singers, and vocal pedagogy students presents the insights of great teachers from the past--insights that have been lost or diluted over the years and which the author believes to be important to the art of teaching. In 18 chapters, Berton (emeritus, music, Colorado College) discusses the writings of Tosi, Garcia, Stockhausen, Sedie, Seiler, Lamperti, Shakespeare, Witherspoon, Lilli Lehmann, Byers, and Johnstone-Douglas. Annotation copyrighted by Book News, Inc., Portland, OR
Scientific knowledge of vocal acoustics has grown exponentially in the last eighty years. With sophisticated yet inexpensive sound analysis technology, more voice teachers are curious about the value of vocal acoustics for the studio and see the need to understand it for more efficient, science-informed pedagogy. Kenneth Bozeman distills the most important vocal acoustic principles and insights for contemporary teachers and singers. With concise and easy-to-understand language, the book takes these complex concepts and imparts practical tips and strategies that anyone can use in their teaching and singing. Unlike many other singing texts, this book focuses on the voice as an acoustic phenomenon. Bozeman addresses a myriad of topics including: Bozeman addresses a myriad of topics including: Theories of vocal resonance The pedagogic implications of tube acoustics Formants and their interaction with harmonics Vocal registration Passaggio training The acoustics of belting Acoustic technology useful for the studio Also included are vocal exercises implementing these concepts.
In this well documented and highly readable book, James Stark provides a history of vocal pedagogy from the beginning of the bel canto tradition of solo singing in the late sixteenth and early seventeenth centuries to the present. Using a nineteenth-century treatise by Manuel Garcia as his point of reference, Stark analyses the many sources that discuss singing techniques and selects a number of primary vocal 'problems' for detailed investigation. He also presents data from a series of laboratory experiments carried out to demonstrate the techniques of bel canto. The discussion deals extensively with such topics as the emergence of virtuoso singing, the castrato phenomenon, national differences in singing styles, controversies regarding the perennial decline in the art of singing, and the so-called secrets of bel canto. Stark offers a new definition of bel canto which reconciles historical and scientific descriptions of good singing. His is a refreshing and profound discussion of issues important to all singers and voice teachers.
This book is written in the belief that the essential basic principles underlying good singing are in themselves rather few, and very simple, but that their application is amazingly varied in light of the individual's needs. It is not intended as a manual of voice production, and does notconcern itself with medical matters, nor directly with anatomy, physiology, and acoustics. While not belittling the value of appropriate scientific investigation, Hemsley believes that modern methods of training have gone too far in the direction of the materialistic approach; that singing in all its aspects and at all times should be guided by the imagination, the feelings, and theintuition; that we have become so pre-occupied by voice per se and the vocal function since the advent of vocal science, that we too easily forget that singing is not voice, but modification of voice - `not only a language through which we understand the emotions of others, but also a means ofexciting our sympathy with such emotions.' (H. Spencer). This book can be seen as an attempt to redress the balance. Quote from reader's report by Professor David Galliver: "Here is a comprehensive and well-ordered philosophy of the art of singing; one which integrates both technical and interpretative aspects. While the technical principles of the classical tradition of singing as expounded by the late Lucie Manen lie at its basis, what is put forward here is verymuch an extension and development, illumined by Thomas Hemsley's long and exceptionally wide experience as a professional singer and teacher, as well as by a wealth of historical evidence. The second part of the book applies these principles, emphasising the fundamental role played by artisticimagination aund understanding. The picture which emerges is essentially comprehensive, and offers a holistic approach to the art of singing. "The book is addressed to those `with a gift for singing who would like to understand better how to approach putting that gift to use'. It will appeal to a wide range of singers, professional and others, and will challenge those pedagogues who rely heavily on the so-called `scientific' approach atthe expense of fundamental human and artistic considerations. Hemsley's own scientific qualifications give additional authority to his hard-hitting arguments. The book is engagingly written, with many personal examples and anecdotes; it certainly makes good reading."
Since the publication of the first edition of A Spectrum of Voices there have been significant advances in voice studies. Prominent members of the new generation of voice teachers join their voices with now-canonized teachings. Asking questions about technology, pedagogy, and stylistic changes within the field, Elizabeth L. Blades brings the wisdom from the past and present to voice students at all levels. A Spectrum of Voices draws from the brilliance and combined experience of an elite group of exemplary voice teachers, presenting interviews from more than twenty-five notable teachers, six of them new to this second edition. Voice teachers offer valuable insight into their teaching philosophies, the types of auxiliary training they recommend to their students, and how they structure their lessons. This second edition also addresses significant technological advances of the past twenty years, especially the impact on vocal performance and pedagogy. A quick-and-handy reference for the studio teacher, this book also serves as a text for vocal pedagogy courses and as an essential supplement for physiology and vocal mechanics, teachers and students of singing, music educators, and musical theater performers.
The pedagogy of singing is based on long historic precedents, going back many generations. Austin traces these developments back to their roots, using contemporary voice science to confirm the validity of these proven methods
Vocal Technique is a practical, easy-to-read guide to better singing. This new edition offers a stylistically flexible approach that allows soloists and choral singers to vary the elements of technique to sing virtually any style—classical through contemporary (musical theatre, pop/rock, jazz, and more). It is a comprehensive yet concise book covering all aspects of technique, including body alignment, breath control, initiation of sound, vocal fold closure, resonance, register use, vowels, pitch control, articulation, and vibrato. It also features expanded treatment of vocal health and development. Conductors and teachers will appreciate the numerous practical exercises. Grounded in the latest pedagogical and scientific research, Vocal Technique, Second Edition will expand the horizons of both amateur and professional singers.
The Vocal Athlete: Application and Technique for the Hybrid Singer, Second Edition is a compilation of voice exercises created and used by well-known voice pedagogues from preeminent colleges, established private studios, and clinical settings. The exercises focus on various aspects of contemporary commercial music (CCM) including bodywork, mental preparation, registration, and much more. New to the Second Edition: * 20 new singing exercises * Updated and expanded exercises, figures, and references throughout Related Textbook The book is designed to accompany the textbook, The Vocal Athlete, Second Edition, a first of its kind in singing science and pedagogy developed for singers of all styles with a particular emphasis on CCM. The Vocal Athlete text and workbook are invaluable tools for anyone who uses or trains the singing voice or works with CCM singers. Disclaimer: Please note that ancillary content (such as documents, audio, and video, etc.) may not be included as published in the original print version of this book.
Ranging from medieval music to Madonna and beyond, this book covers in detail the many aspects of the voice. The volume is divided into four broad areas. Popular Traditions begins with an overview of singing traditions in world music and continues with aspects of rock, rap and jazz. The Voice in the Theatre includes both opera singing from the beginnings to the present day and twentieth-century stage and screen entertainers. Choral Music and Song features a history of the art song, essential hints on singing in a larger choir, the English cathedral tradition and a history of the choral movement in the United States. The final substantial section on performance practices ranges from the voice in the Middle Ages and the interpretation of early singing treatises to contemporary vocal techniques, ensemble singing, the teaching of singing, children's choirs, and a comprehensive exposition of vocal acoustics.
