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Preface | |
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Acknowledgments | |
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Introduction | |
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The Coordinated Vocal Onset and Release: Establishing Dynamic Muscle Equilibrium through Onset and Release | |
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The Varieties of Onset | |
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The Hard Attack | |
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The Soft Onset | |
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The Balanced Onset (Dynamic Muscle Equilibrium) | |
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Exercises for Achieving the Balanced Onset | |
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Uses of the Aspirated Onset | |
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Uses of the Glottal Attack | |
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Physiological Benefits of the Coordinated Onset | |
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Onset Vocalises which Induce Dynamic Equilibrium | |
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Group 1 Exercises | |
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Staccato and Onset | |
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Group 2 Exercises | |
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Group 3 Exercises | |
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The Release | |
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The Soft Release | |
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The Hard Release | |
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The Balanced Release | |
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The Supported Singing Voice: Breath Management in Singing | |
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Subglottic Pressure and Glottal Activity | |
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The Technique of appoggio | |
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Breath Management Exercises without Phonation | |
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Breath Management Exercises with Sibilants and Fricatives | |
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Breath Management Exercises Involving Phonation | |
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Breath-pacing versus "More Support" | |
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Agility in Singing: Flexible Application of Breath Power | |
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Exercises for the Acquisition of Agility | |
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The Resonant Voice: Supraglottic Considerations in Singing | |
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Vowel Formants | |
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The Singer's Formant | |
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The Singer's Perception of Timbre | |
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The Open Throat (gola aperta) | |
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"Placement" of the Voice (impostazione della voce) | |
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Exercises for Establishing Resonance Balance (impostazione) in Singing | |
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Velopharyngeal Closure | |
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The Well-balanced Vowel: Vowel Differentiation in Singing | |
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The Acoustic At-rest Posture | |
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The Vowel Postures | |
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Formation of the Neutral Vowels [[characters not reproducible] and [[characters not reproducible] | |
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Formation of the Vowel [a] | |
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Formation of the Vowel [i] | |
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Formation of the Vowel [e] | |
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Formation of the Vowel [[characters not reproducible] | |
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Formation of the Vowel [[characters not reproducible] | |
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Formation of the Vowel [o] | |
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Formation of the Vowel [u] | |
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Mouth Position for Vowels in Singing | |
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Exercises for Vowel Differentiation | |
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Group 1 Exercises | |
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Group 2 Exercises | |
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Resonance Balancing through Nasal Consonants: The Influences of Nasal Continuants on Resonator Adjustment | |
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Pedagogical Uses of Consonantal Phonemes in General | |
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Use of the Nasals in Balancing Resonator Coupling | |
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Some Uses of the Voiced Bilabial Stop [m] | |
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Uses of the Alveolar-nasal Continuant [n] | |
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Some Uses of the Voiced Linguavelar Stop [[characters not reproducible] | |
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Some Uses of the Lingua-palatal-nasal Continuant [[characters not reproducible] | |
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Some General Considerations on the Nasal Continuants | |
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Resonance Balancing through Non-nasal Consonants: The Influence of Non-nasal Consonants on Resonator Adjustment | |
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Uses of the Voiced Lingua-anterior-palatal Continuant [j] | |
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Uses of the Lingua-alveolar Continuant [l] | |
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Uses of the Alveolar Single [r] and the Alveolar Rolled [[characters not reproducible] | |
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Uses of the Voiced Labiodental Fricative Continuant [v] and the Voiceless Labiodental Fricative Continuant [f] | |
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Uses of the Voiced Bilabial Stop Plosive [b] and the Voiceless Bilabial Stop Plosive [p] | |
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Use of the Voiced Lingua-alveolar Fricative Continuant [z] and the Voiceless Lingua-alveolar Fricative Continuant [s] | |
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Uses of the Voiced Linguadental Fricative Continuant [[characters not reproducible] and the Voiceless Linguadental Fricative Continuant [[characters not reproducible] | |
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Uses of the Voiced Lingua-alveolar Stop Plosive [d] and the Voiceless Lingua-alveolar Stop Plosive [t] | |
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Uses of the Voiced Linguavelar Stop Plosive [g] and the Voiceless Linguavelar Stop Plosive [k] | |
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Uses of Voiceless Consonants in General | |
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Useful Pitch Patterns | |
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Vowel and Diphthong Patterns | |
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Coupled Consonants | |
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Sustaining the Voice: Sostenuto | |
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Exercises for Developing Sostenuto | |
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Group 1 Exercises | |
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Group 2 Exercises | |
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Group 3 Exercises | |
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Group 4 Exercises | |
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Group 5 Exercises | |
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Unifying the Registers of Male Voices | |
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Register Terminology | |
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Primo passaggio (First Register Transition) | |
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Secondo passaggio (Second Register Transition) | |
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Zona di passaggio (zona intermedia) (The Passage Zone) | |
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Registration Events of Male Voices | |
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Voce di petto (Chest Voice) | |
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Voce Mista (Mixed Voice) | |
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Voce di testa (Head Voice) | |
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Voce finta (Feigned Voice) | |
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Falsetto | |
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The Male Falsettist | |
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Strohbass | |
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Exercises for Achieving an Evenly Registered Scale in Lower and Middle Voice | |
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Exercises | |
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Exercises for Achieving an Evenly Registered Scale in Upper and Middle Voice | |
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Exercises | |
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Unifying the Registers of the Female Voice | |
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Registers of the Female Speaking Voice | |
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Combining Female Singing Registers | |
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Registration Events of Female Voices | |
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Chest in Female Voices | |
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Open Chest | |
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Chest Mixture | |
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Exercises for the Development of the Lower Range | |
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Head Mixture in Female Lower Range | |
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Head Mixture in Female Middle Range | |
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Exercises for Inducing Head Mixture in Middle Voice | |
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Female voce di testa | |
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Exercises for Inducing voce di testa Sensations Throughout the Voice | |
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Flageolet Register | |
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Exercises for Developing the Flageolet Range | |
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Vowel Modification in Singing: aggiustamento | |
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Timbre Terminology | |
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The Technique of aggiustamento (The Vowel Series in Modification) | |
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Exercises for Achieving aggiustamento | |
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Range Extension and Stabilization in Singing | |
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Range and Voice Categorization | |
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Extending the Vocal Range | |
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Exercises for Extending and Stabilizing the Vocal Range | |
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Messa di voce and Dynamic Control | |
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Exercises for Developing Dynamic Control | |
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Determining Dynamic Levels | |
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Vibrancy in Singing: Vibrato and Vocal Timbre | |
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Physical Causes of Vibrato | |
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Uses of the Vibrato | |
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Correcting Oscillation ("Wobble") | |
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Eliminating Straight-tone Intrusion | |
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Correcting the Vibratoless Voice | |
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Correcting Tremolo ("Shake") | |
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Vibrato and Velocity | |
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Pedagogical Uses of Straight-tone | |
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Uses of the Trill | |
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Coordinating Technique and Communication | |
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Pedagogical Attitudes: The Aesthetics of Vocal Timbre | |
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The New Student | |
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Compensatory Methods of Singing | |
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The Technically Intense Teacher | |
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The Interpretation-oriented Teacher | |
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The Technique-mystique Teacher | |
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The One-aspect Teacher | |
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Pedagogical Balance | |
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Teaching Oneself | |
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Healthy Singing | |
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Conditioning for Performance Readiness | |
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Performance-day Routine | |
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When Not to Sing | |
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What to Sing | |
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The Teacher-performer | |
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The Question of Complete Vocal Rest | |
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The Question of Medication | |
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Dry Throat | |
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"Clearing" the Throat | |
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Fighting the Cough | |
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Chewing | |
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Singers and the Laryngologist | |
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Weight and the Singing Voice | |
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Diet and the Singer | |
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Physical Exercise and Singing | |
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Longevity and the Voice | |
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The Optimistic Performer | |
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Laryngeal Structure and Function | |
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Cartilaginous Structure of the Larynx | |
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The Single or Unpaired Laryngeal Cartilages | |
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The Paired Laryngeal Cartilages | |
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Ligaments and Membranes of the Larynx | |
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The Interior of the Larynx | |
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Muscles of the Larynx and their Function | |
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Extrinsic Muscles | |
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Intrinsic Muscles | |
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The Muscles of Adduction | |
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The Muscles of Elongation | |
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Summary of Intrinsic Laryngeal Action | |
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The Structure and Mechanics of the Breath Apparatus | |
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The Thoracic Cage | |
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The Region of the Sternum | |
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The Intercostal Muscles | |
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The Diaphragm | |
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The Lungs and the Pleurae | |
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Muscles of the Neck | |
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Muscles of the Upper Torso | |
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Muscles of the Anterolateral Abdominal Wall | |
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Systems of Breath Control | |
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The Physiology of the Vocal Tract Resonator System | |
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The Physical Factors of Vocal Registration | |
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Cricothyroid Action in Registration | |
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External Frame Function | |
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Damping | |
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Summary of Physical Aspects of Registration | |
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Influences of Various Voiced and Unvoiced Consonants on Resonator Adjustment | |
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International Phonetic Alphabet (IPA) Symbols | |
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A Concise Correlative Pronunciation Guide | |
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IPA Symbols for Vowels, Semi-vowels, and French Vowel Sounds | |
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International Phonetic Alphabet Symbols for Consonant Sounds | |
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Glossary of Nonmusical Terms | |
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Glossary of Vocal Terms | |
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Bibliography | |
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Articles | |
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Books | |
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Index | |