The Philosophy Of Singing Classic Reprint

Excerpt from The Philosophy of Singing This 13, therefore, but a little book. But small as it is, it represents a quarter of a century of con stant groping and reaching out for the true prin ciples which govern the art of singing in its high est aspect, which is the most eloquent and direct expression not only of the individualized soul, but also of the great universal soul itself. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1893 edition. Excerpt: ... CHAPTER V REGISTERS The different registers of the voice should be regarded by the singer as only so many modifications in the quality of tone, which modifications are inherent in the voice itself. These modifications in quality are not to be brought about by conscious adjustments of the parts employed in making those modifications, as any interference with the parts will produce that obstacle to smoothness and equality in the scale which we commonly call a " break." If the entire throat, which of course includes the tongue, is allowed to remain perfectly free and untrammelled; if no part is held in a fixed position, and if the lungs remain free to expand to the ingoing and outgoing of the breath, as they will if the diaphragm be neither held in a fixed position nor consciously worked, the registers will assert themselves naturally, and merge imperceptibly into one another with perfect ease. The number of registers varies in different voices. The soprano and contralto voices of full compass have five registers, the tenor has three, and the bass and barytone have two. From a physiological standpoint these registers represent different adjustments of the vocal cords or ligaments, and also different positions of the larynx itself, which different positions cause a variation in the dimensions of the throat. The larynx stands lowest for the lower chest register, and in this position the throat is long and wide; and as the larynx gradually ascends for each succeeding register, the throat becomes shorter and narrower, until it reaches the highest point, when the space in the throat is very small. From the standpoint of the singer, however, the registers simply represent different qualities of sound and different points of reverberation in the...

Excerpt from The Philosophy of Voice: Showing the Right and Wrong Action of Voice in Speech and Song; With Laws for Self-Culture A thrush perched at the top of an ash-tree in my garden begins pouring out its full ecstasy of song at daybreak, and, with slight intervals for refreshment, ends at sunset. This will go on for two months or so, without the slightest appearance of fatigue or the slightest sign of loss of tone in voice. This is the mode of voice-production that in the following treatise I have endeavoured to induce in human beings, and define its cause. A singular proof of the use of caverns as resonators multiplying sound is found in those birds whose voices are comparatively fixed, such as the common wild duck. There is no capacity of contraction or expansion as there is in us, for the space is bone, and hen birds have it not. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from The Commonplaces of Vocal Art: A Plain Statement of the Philosophy of Singing in a Series of Informal Chats With Vocalists, Teachers, Students, Platform-Speakers, and All, Who Wish to Use Their Voices Correctly The following studies treat of the philosophy of the voice and of voice use, and offer suggestions as to the best method of practice for the develop ment of the speaking voice and the voice in singing. The work is largely made up of essays written during the last ten years for various musical journals, and of lectures before musical institutions. These essays have been rewritten and brought up to date, with reference to the author's further experience and deeper study since their first publica tion. They have also been placed in practical sequence, and made more didactic, that they may, together with much new matter, form a succinct text book for vocal students (singers and public speakers), and serve as a companion work to the author's books of Practical Exercises, The Essential Practice Material for Singers English Diction for Singers and Speakers; and The Singer's Control of Body and Breath. The volume is placed before the public after many requests from the readers of the original essays throughout the country, and also to meet the requirements of the author's pupils now teaching in accordance with the processes herein displayed. Perhaps the cause of the cordial approval that greeted the essays in their original form was, as has been said of them, their plain speech. So much of vocal literature is written in cumbersome, technical language - or still worse, with fantastic personal theory - the whole subject has become a doctrine of mysteries. To such an extent has this been the fact, it has grown to be the belief of many that the practice of the profession of vocal teaching is a very conspiracy, the innocent student being willfully kept in darkness by the teacher, who exercises every effort to impress upon him the occult nature of the art, and the oracular power of the professor. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

In Philosophy of Song and Singing: An Introduction, Jeanette Bicknell explores key aesthetic, ethical, and other philosophical questions that have not yet been thoroughly researched by philosophers, musicologists, or scientists. Issues addressed include: The relationship between the meaning of a song’s words and its music The performer’s role and the ensuing gender complications, social ontology, and personal identity The performer’s ethical obligations to audiences, composers, lyricists, and those for whom the material holds particular significance The metaphysical status of isolated solo performances compared to the continuous singing of opera or the interrupted singing of stage and screen musicals Each chapter focuses on one major musical example and includes several shorter discussions of other selections. All have been chosen for their illustrative power and their accessibility for any interested reader and are readily available.