Coffin S Sounds Of Singing

This essential foundation for teaching vocal technique is now available in paperback! Based on the great teaching of the past, it explains the utilization of principles and applications of vocal techniques. The Chromatic Vowel Chart defines the vowel color changes in chromatic progressions for all voices, and the text explains how singing principles can be used by relying on the ear, the eye, and the sense of vibration in the body. Cloth edition [0-8108-1933-3] published in 1987. Paperback edition available April 2002.

Presents in acoustic phonetics, register and musical notation, many exercises that will make the voice stronger and more musical according to the precepts of Bel Canto.

In this, James George's extraordinary second novel, three people, strangers all, are thrown together in a world of sand and ocean and sky on Northland's Ninety Mile Beach. Jordan - a tattooed man who lives alone at the base of his ancestral hill in a boat that was never launched - has his solitude broken by the arrival of two travellers: one who falls from the air, another who arrives following childhood tracks. Kingi, a distinguished Battle of Britain veteran, is journeying to keep a promise made on Crete half a century ago. Kataraina, a former prostitute, has left Sydney's Kings Cross and is finally travelling home. But their journeys and their lives change forever with the arrival of a young woman and her daughter a This novel sets global conflict against a sensuous search for love. The action sweeps across fifty years, and ranges around the globe from New Zealand to northern Europe and the Mediterranean. Hummingbird is a bittersweet exploration of freedom and confinement, parenthood and family, home and belonging.

Example in this ebook Under the heading of ‘The Varieties of English Speech’ an article of mine appeared in The Quarterly Review of July, 1907. The favourable reception accorded to it at the time prompted me to embark forthwith on a larger work dealing with the same subject. Many books both scientific and popular have been written concerning dialect speech and lore, but nearly all of them are special investigations of some particular dialect. I have taken a bolder flight than this. I have not given a detailed account of any one dialect, but I have surveyed them all, and have gathered words, phrases, names, superstitions, and popular customs, here and there, wherever I found something that appealed to me, and that I felt would appeal to others as well as myself. It was impossible to make any one category exhaustive, for such was the mass of material open to me for selection, I might say I was ‘fairly betwattled and baffounded’. The only thing to be done was to make my selections fairly representative of the whole. My aim in dealing with the linguistic side of my subject has been to show that rules for pronunciation and syntax are not the monopoly of educated people who have been taught to preach as well as practise them. Dialect-speaking people obey sound-laws and grammatical rules even more faithfully than we do, because theirs is a natural and unconscious obedience. Some writers of literary English seem to enjoy flinging jibes at dialect on the assumption that any deviation from the standard speech must be due to ignorance, if not to vulgarity besides. Since I wrote the last chapter of this book, I read in a criticism of Stanley Houghton’s Play Trust the People, this sentence describing the Lancashire ‘father an old mill-hand and the homely mother to match’: ‘They are both drawn, you feel, to the life, and talk with ease, not to say gusto, that curious lingo which seems to an outsider mainly distinguished by its contemptuous neglect of the definite article’, The Times, Friday, Feb. 7, 1913. Now the definite article in north-west Lancashire is t, in the south-west and south t, or th, and in mid and south-east Lancashire th. When this t stands before a consonant, and more especially before a dental such as t, d, it is not by any means easy for the uninitiated to detect the difference in sound between the simple word and the same word preceded by the article, between, for example, table and t table, or dog and t dog. But this is not ‘contemptuous neglect’ on the part of the Lancastrian! It would be nearer the mark to say that the Lancashire dialect is characterized by its retention of a form of the definite article very difficult to pronounce in certain combinations. Further, I have endeavoured to show by means of numerous illustrations, how full the dialects are of words and phrases remarkable not only for their force and clearness, but often also for their subtle beauty, that satisfying beauty of the thing exactly fitted to its purpose. I have also drawn up lists showing the numbers of old words and phrases once common in English literature, still existing in the dialects. Occasionally writers of modern verse seek to restore some of the words of this type to their former position in literary English, thereby causing the reviewer to stumble dreadfully, though he thinketh he standeth. I quote the following from a literary periodical dated May 2, 1913: ‘He debates if he shall make “a nest within a reedy brake”, or, failing this delectable situation, offers himself a quaint alternative, Or I shall see with quiet eye, The dappled paddock loping by. We had always supposed in our ignorance that “paddock” was a term applied to green fields or pastures. How Mr. ... could have seen a paddock “lope” we do not know, and perhaps it would not be kind to ask him to explain.’ To be continue in this ebook

In shaping choral tone, directors often wish to improve the sound of their choir, but are challenged to pinpoint underlying problems or to guide singers toward solutions. Now, in Prescriptions for Choral Excellence, skilled vocal pedagogue Shirlee Emmons and leading choral director Constance Chase equip choral directors with the practical tools they need to help singers achieve peak choral performance. Drawing on years of experience, Emmons and Chase help choral directors and singers effectively diagnose and resolve problems. They cover topics ranging from breath management and diction to range and intonation, and much more. Beyond describing vocal difficulties, the book provides concrete instructions on how to apply the concepts in day-to-day rehearsal and performance. The numerous practical exercises and planning aides allow directors to maximize both time and talent to elicit the highest potential from their singers. While grounded in the most up-to-date research in voice science, the discussion of vocal anatomy and function is accessible to readers with no previous knowledge of voice science. Going beyond other vocal and choral guidebooks, the authors also apply the most current theories in leadership principles and group dynamics to choral settings, helping directors translate their natural musicality and charisma into inspiring and motivational leadership. A comprehensive and unique blend of practical expertise, voice science, and leadership psychology, Prescriptions for Choral Excellence is an invaluable guide for all choral directors seeking to create memorable and remarkable performances.

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

Singing and Teaching Singing: A Holistic Approach to Classical Voice, Fourth Edition continues to be a beloved resource for singers and their teachers, speech-language pathologists, and laryngologists and an adopted text for instructors and students in voice, singing, and performing arts courses. Janice L. Chapman is able to draw on her experiences as a singer with some of the world's leading opera companies to present a teaching technique specifically focusing on voice in the areas of classical and opera singing. Interspersed with the concepts and components of Chapman's methods are vignettes from her life and career, animated by her conversational and vibrant style to guide (and entertain) the reader through the book in a step-by-step fashion. Now expand to include joint authorships with Dr. Ron Morris, the fourth edition draws on his experience as a speech and language therapist, audiologist, and singer, and widens the scope of the book to view current studio teaching practices through a scientific lens. The philosophy of teaching presented combines three main facets: Holistic, Physiological, and Incremental. The Holistic segment emphasizes that the act of singing involves the whole person (i.e., body, mind, spirit, emotion, and voice); the Physiological segment stresses anatomy, muscular function, and effects of muscular interactions so that students and teachers alike can understand and visualize the functional workings of the torso, larynx, and the vocal tract and their impact on good singing practices; and the Incremental section shows that the act of singing and the teaching of singing can be broken down into manageable components that have a natural hierarchy that eventually interact and interlock. This teaching model provides a framework to master one element at a time, with the resulting effect of a complete and integrated mastery of technique. Chapman recommends this framework for rehabilitative work with the dysfunctional singer, for working with the developing singer, and for the ongoing development and maintenance of the technically able professional singer. This highly-readable text includes contributions from renowned voice professionals, case studies, evidence-based and practical examples, exercises, and videos. New to the Fourth Edition: * New editor and co-author, Ron Morris, BSpThy (Hons); MMusStud (Voice), MSPAA, MASA (CC), PhD * The addition of completely new chapters on Laryngeal Registration, Vocal Acoustics and Acoustic Registration * Clarifications and exercises by Dr. Ron Morris on the use of the Accent Method breathing as a highly effective remedial and training technique * Expanded and updated information on Breathing and Support, Vocal Acoustics, Registers (Laryngeal and Acoustic), Teaching and Learning, Hearing and Singing, and Manual Therapy * Exercises have been significantly expanded and now are contained in a chapter of their own, which includes some information on lesson structure and practice * Significant updates reflect the current state of research and the latest advances in voice science and pedagogy have been referenced throughout * A new glossary has been added for ease of reading and clarification of pedagogical terms used in the text