On the Art of Singing

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Oxford University Press, 1996 - Music - 318 pages
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A comprehensive volume on all facets of vocal performance, On the Art of Singing considers in detail established comparative vocal techniques, the specifics of interpretation and communication, the factors that contribute to career preparation and maintainance, and the application of functional information to the art of singing. Topics that most frequently concern singers and teachers at all levels of accomplishment are reviewed. These include an examination of pedagogical approaches to breath management, to laryngeal freedom, and to resonance balance, advice on career building, considerations of style and interpretation, and information on the physiology and acoustics of the singing voice. Data from diverse sources, otherwise inaccessible to the singer, are assembled and interpreted in the light of performance artistry. From his own long and distinguished career as a performer, teacher of singing, and vocal researcher, the author aims at making practical the relationship of technical proficiency to freedom in performance.
 

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Contents

Imagery and the Teaching of Singing
3
Five Principles for the Successful Teaching of Singing
6
Covering in the Singing Voice
10
The Open Throat Lagola aperta
17
Breath Management Diction and the Vocal Legato
19
Diction and Vocal Technique
26
The Performer as Voice Teacher
28
Pedagogical Clothing for the Emperor and Empress
32
Wrapping Up the Performance Package
156
What to Do on a Performance Day
160
Warming Up the Voice
162
The Technique of Marking
165
The Vocal Contestant and the Judges
168
Twentyone Proven Ways to Alienate Competition Judges
171
Beginning with Another Teacher
173
Early and Late Bloomers
175

The Tricky Teacher
35
Woofy Baritones and Tinny Tenors
36
McPedagogy
38
What You Need Is More Support
41
Simplicity in Singing
43
Teaching Hearing the Voice
46
Si canta come si parla?
47
How Singing Is Not Like Speaking
50
Thinking Phonetically Values and Pitfalls of the IPA
53
A Parable of the Foolish Baker
55
The Choral Conductor as Teacher of Vocal Technique
57
The Law of Contingency and Vocal Pedagogies
63
To Admire or to Teach?
64
Patching the Vocal Garment
66
Mysteries and Miracles
68
The FlatEarth School of Vocal Pedagogy
70
Sharpening Up Some Old Pedagogical Saws
75
Open Windows
88
On Musical Style and Interpretation
97
Purely a Matter of Taste
99
The Two Poles of Bel Canto
101
Singing the melodie
103
Selfperception and Performance Reality
104
Liederwurst
106
Sett ich ihn gesehen kann ich jedoch singen
108
Words or Sentences? Notes or Phrases?
110
Sentiment or Sentimentality?
112
Singing the Recitative
113
Reality and Art
116
Pop Music NonWestern European Vocal Styles and Efficient Vocal Function
118
How Is Legato Achieved in Singing?
122
Rhythm versus Beat
124
Large and Small Strokes
125
The GildaintheSack School of Singing
127
The Demise of the Studio Baroque Vocal Sound
129
Vocal Coach or Vocal Technician?
134
Vocal Tea Parties of the Private and Public Sorts
136
As the Old Italians Said
138
The Lively Dying Art of Singing
139
The Sense of Immediacy in Singing
141
On Preparation for the Professional Life
147
The Seven Pillars of Performance Success
149
Creative Practicing
181
A Stroll Past the Practice Rooms
184
What Technical Work Have You Done Today?
186
The Lonely Soccer Player
189
How to Really Bomb a Master Class
190
Developing Independence in the Student
193
Is There a Cure for Performance Anxiety?
195
Please Tell Me My Fach
199
The Aging Singer
202
The Wisdom of the Body in Singing
204
Studio Procedures
206
Truth in Advertising A Critical Look
209
The Practicality of Creativity
211
On the Singing Voice and Vocal Function
215
The Singing Teacher in the Age of Voice Science
217
On the Invasion of Vocal Pedagogy by Science
222
The Invisible Instrument?
223
Have You Read the Literature?
224
TongueHyoid BoneLarynx
227
Tongue Neck and Jaw
233
Gorillas Giraffes Lions and Gazelles
235
Male and Female Created He Them
237
In Search of the Tenth Rib
239
Teaching Voices of the Opposite Gender
241
Instinctive Artistic Singing
243
Lets Build a Straw Man The TechniqueversusArtistry Debate
247
The Misuses of Scientific Information in the Teaching of Singing
249
Relax and Sing?
252
Easily Not Lazily Tonicity in the Singing Instrument
255
The Effect of Tongue Position on Spectra in Singing
256
The Role of the Jaw in Singing
264
The Incorrupt Jaw and Tongue of Saint Anthony of Padua
269
How Big Is the Big Sound?
271
Feeling Hearing and Seeing the Voice
273
Spectrographic Analysis of the Singing Voice
275
Vowel Definition in a Performance by Jussi Bjoerling of Vesti la giubba
280
Spectral Components of Five Cardinal Vowels in the Soprano Singing Voice Considered by Means of the Sequential Vowel Diagonal
291
A Brief Spectral Study of Vowel Differentiation and Modification in a Professional Tenor Voice
297
What the Vocal Arts Laboratory Can and Cannot Do
303
The Singer and the Otolaryngologist
306
Index
309
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About the author (1996)


The late Richard Miller was Professor of Singing and the Director of the Otto B. Schoepfle Vocal Arts Center at Oberlin College Conservatory of Music.

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