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Top opera stars discuss their careers and the technical aspects of singing, including breath control, posture, and placement
In his first book since the enormously popular Great Singers on Great Singing, the distinguished Metropolitan Opera basso Jerome Hines here provides a wealth of new information and advice for all those who have embarked on - or plan to embark on - a serious singing career. From basic information on how the head and body combine to produce vocal sound, he goes on to analyze the "four voices" encompassed by the singer's one voice, always explaining how through proper technique and training that voice can achieve its ultimate in power, grace and beauty. On another level, Mr. Hines guides the singer through the labyrinth of choosing the right teacher, shows how physical and emotional health and care of the body relate to the vocal apparatus and considers such diverse matters as stage fright, dealing with conductors and managers and that final challenge - facing the critics.
Wonderful compilation of advice and instruction from operatic immortals: Nellie Melba on voice training and preservation, Alma Gluck on building a vocal repertoire, Geraldine Farrar on the will to succeed, plus contributions from Caruso, Galli-Curci, Garden, Lehmann, many more. Indispensable for singers and any opera lover. Cooke, long-time editor of Etude Magazine, provides an Introduction. 24 photographs.
This book supplies detailed explanations for young singers, teachers, and professional singers with 'troubled' voices. Striny's previous book, Head First, discussed this process but without specific instructions to accomplish the task. This completely original process was conceived by Striny to correct major problems in his voice.
This work describes in accessible language the technical foundations of the Old Italian School of Singing. It enables the reader to grasp the teachings of the old masters theoretically and practically. The research for this book used not only the old treatises from the 1700’s onwards but also firsthand testimonies, biographies and recordings from historical singers. The author systematically takes us through the basic elements of historical singing with practical hints and exercises tested by extensive teaching experience.
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."
While many texts and courses on the art of singing offer comprehensive overviews of technique and performance, few have time to delve into the specific questions they spawn. Solutions for Singers explores these unanswered questions, filling in gaps that professional performers, students of singing, and voice teachers have long sought to close. Fielding over 200 questions, distinguished teacher and performer Richard Miller tackles problems raised during hundreds of his master classes and pedagogy courses. He deliberately avoids abstract generalities, concentrating instead on specific, recurring questions: What are some good exercises to loosen or relax tension in the back of the tongue? Do you apply the same principles regarding breathing to a younger student that you do to older students? What is meant by voiced and unvoiced consonants? Is there a female falsetto? Through such specialized questions, Miller probes the very essence of artistic expression. The questions are organized under ten broad topics, which Miller considers from various angles. He couples traditional and modern philosophies to present the most relevant and precise solutions. The result is an invaluable handbook for singers, which, read either sequentially or selectively, provides a unique and pragmatic approach to vocal artistry and technique.

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