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Twenty-four leading voice experts speak out on the changing role of voice on stage. Essay topics include: Re-Discovering Lost Voices * Thoughts on Theatre, Therapy, and the Art of Voice * Finding Our Lost Singing Voices * Voice Training, Where Have We Come From? * Vocal Coaching in Private Practice * more.
The magic of the Bel Canto technique, coveted throughout the ages by singers of every genre, is expertly outlined by internationally renowned vocal pedagogue/technician Miriam Jaskierowicz Arman. Endorsed by many professional singers and organizations, this unique book provides an invaluable tool for anyone choosing to actualize the full potential of his/her instrument. Fully illustrated.
Freedom, ease, and power in song and speech for singers, public speakers, executives, and actors! Now in the Fifth Edition, this straightforward, clearly written guide presents David Blair McCloskys highly acclaimed techniques for developing and mastering a more perfect voice as well as rehabilitating voices that have suffered abuse. McCloskys methods, proven effective for more than 50 years, have been used by voice teachers, voice students, and speech pathologists as well as singers, actors, public speakers, executives, salespeople, ministers, broadcasters, and others whose voice use is significant in their lifeincluding the late President John F. Kennedy. Practicing McCloskys full range of techniques ensures that individuals can be the caretakers of their own voice and achieve maximum quality and fitness.
Chapters: Listening to Singers; Nature of Sound; Vocal Resonance; The Source/Filter Theory of Voice Production-Formant; Voice Analysis; Voice Registers; Anatomy for Singing; Breathing for Singing; Phonation; Articulatory Anatomy; The Ear and Hearing; Vocal Health; Listening to Singers, Rating Sheet; Frequencies of the Equal Tempered Musical Scale. with index.
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Excerpt from Voice, Song, and Speech: Practical Guide for Singers and Speakers; From the Combined View of Vocal Surgeon and Voice Trainer All Illustrations of this work which have been borrowed or adapted from other authorities are duly acknowledged. Those not so named are either original, or, as the result of actual dissection and experience, have been modified to such an extent as to justify claim to originality. The laryngoscopic drawings have been made by Mr. Lennox Browne, and the other figures have been drawn under our joint direction by Mr. Sherwin, of 4 Staple Inn Buildings, whose care and skill we are happy in having secured. We also gratefully recognise the painstaking intelligence with which Mr. Royle, of 2 Newmans Row, Lincolns Inn, has engraved the woodcuts. Acknowledgment of obligation in the matter of the photographs is accorded in the appendix on Photography of the Larynx, page 304. Plate Page I. Original and untouched Portrait illustrating the process of Photography of the Larynx. Copyright). Frontispiece II. A Reed (r;;Tyndall)., . , 30 Iii. Section of the Human Body. ,. 39 Adapted from Kiiss and Czermak.) IV. Framework of the Chest. , . 40 V.Chest and Lungs. 42 Vi. The Lungs, c.adaptedfrom Niemeyer) 43 Vii. Side View of the Voice-box or Larynx. 52 Viii. Front View of the Voice-box or Larnyx. 54 Ix. Side View of the Voice-box or Larynx, showing the interior of it, the right plate of the shield having been removed. 57 X.Side View of the Voice-box or Larynx, showing the interior of the left hdf 60 Xl Side View of the Voice-box or Larynx, showing the external muscles,. 62 Xii. A. Glottis in Repose B.Glottis in Deep Breathing I 65 C.Glottis in the Production of Tone. 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.