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able art of song artist attack auxiliary vowels beauty become breath pressure chest tones color coloratura compass connection consciously diaphragm elastic endurance epiglottis Erlking exer exercises expression falsetto fauces feel flat front teeth functions furrow give habit hard palate head cavities head register head tones head voice higher highest range highest tone Italians learn to hear LILLI LEHMANN lips lower lowest tone middle range mouth muscular musical nasal nature never nose overtones palatal resonance phrase pillars pitch plate position practised produce propagation form proper pupil raised reach Red lines denote resonance chambers resonating surfaces scale SECTION sensations in singing singer single tone slowly soaring soft palate soon soprano stream of breath strength sung supply chamber syllables talent teach teacher tenor THEODOR WACHTEL throat muscles tion tongue trained tremolo trill vibration vocal cords vocal organs vocal sensations vowel sound whirling currents whole word
Page 17 - All was absolutely good, correct, and flawless, the voice like a bell that you seemed to hear long after its singing had ceased. Yet she could give no explanation of her art, and answered all her colleagues...
Page 283 - 'Music Study in Germany' is of great general interest, but it is of yet greater value to those who are concerned with the development of their musical talent. It is full of hints to them, and should certainly be read by every one who thinks of going abroad for the completion of a musical education.
Page 41 - Leave the larynx and all connected with it alone; strengthen the organs by daily vocal gymnastics and a healthy, sober mode of life ; beware of catching cold after singing ; do not sit and talk in restaurants.
Page 141 - register " is kept in use, the registers will not disappear. And yet, the register question must be swept away, to give place to another class of ideas, sounder views on the part of teachers, and a truer conception on the part of singers and pupils.
Page 225 - Thus, in the coloratura passages of Mozart's arias, I have always sought to gain expressiveness by crescendi, choice of significant points for breathing, and breaking off of phrases. I have been especially successful with this in the JEntfuhrung, introducing a tone of lament into the first aria, a heroic dignity into the second, through the coloratura passages.
Page 174 - ... direct breath pressure. One must learn to tense them by means of various muscular functions. " The tremolo can also be produced by the false placement of the larynx which is not always fixed close enough under the nose and chin, and being disunited with e and u by means of y it wabbles around alone. " Even the vibrato to which full voices are prone, should be nipped in the bud, for gradually the tremolo and later something even worse, is developed from it. Life can be infused into the tone by...
Page 18 - She possessed, unconsciously, as a gift of nature, a union of all those qualities that all other singers must attain and possess consciously.
Page 3 - But art to-day must be pursued like everything else, by steam. Artists are turned out in factories, that is, in so-called conservatories, or by teachers who give lessons ten or twelve hours a day. In two years they receive a certificate of competence, or at least the diploma of the factory.
Page 27 - ... reproduce the sensations, and there fore the tone, from her elaborate descriptions. One chapter on the ' Breath and whirling currents ' is especially difficult to fathom. The breath having arrived in the mouth is said to make ' Whirling currents, which circulate in the elastic form surrounding it, and it must remain there till the tone is high enough, strong enough, and sustained enough to satisfy the judgment of the singer as well as the ear of the listener. Should there be lacking the least...
Page 13 - Through natural gifts, among which I reckon the possession of sound organs and a well-favored body ; through study guided by an excellent teacher who can sing well himself, — study that must be kept up for at least six years, without counting the preliminary work.