Singing: techniques Books

Book SynopsisBREAKING THROUGH 2ND EDITION REVISED 3/01 VOCAL TECHNIQUE

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Book SynopsisIt explains the system that Battaille devised from his laryngeal dissections and laryngoscopic observations, and includes translations (from the original French) of Battaille's two books in which he details his discoveries and teaching methods: Nouvelles recherches de la phonation and De la physiologie uppliquee a l'etude du mechanisme vocal.Trade ReviewJoiner's English translation of Battaille's treatises is a major contribution. * Notes: Quarterly Journal of the Music Library Association *Much more than a translation, this book is an important historical document as well...Joiner provides valuable context for early voice research in France. No serious collection of vocal pedagogy and voice science books can afford to be without this significant contribution. * Journal of Singing *A study of Battaille's contributions to French vocal science and vocal teaching in the last half of the 19th century...Includes musical examples and drawings of his dissections, which were included in his original volumes. * Reference and Research Book News *

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Book SynopsisA timeless classic. Includes 8,200 songs in 818 lists for nine voice classifications; indexed by composer, title, vocal range, and publisher. The complete work represents the living song repertoire of today drawn from recital programs, recordings, broadcasts, telecasts, and other sources, and is comprised of Part I: Coloratura, Lyric and Dramatic Soprano, Part II: Mezzo Soprano and Contralto, Part III: Lyric and Dramatic Tenor, and Part IV: Baritone and Bass.

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Book SynopsisTomatis was one of the earliest pioneers in the field now known as psychoacoustics, and his book L''Oreille et la Voix is considered a classic by many in that field. Although Tomatis initially applied his theories to vocal performance, it soon became clear that the principles he uncovered could also have a profoundly beneficial influence on actors, painters, writers, and those suffering from physical and psychological disabilities. This translation makes Tomatis''s discoveries accessible for a broad audience, and is divided into three parts that can be read separately or together. Part I introduces Tomatis''s general concepts as they apply to the art of singing. Part II is a basic introduction to the anatomy of the ear and how its functions relate to the brain and the rest of the body. It also provides the reader with a metaphor-free vocabulary for discussing anatomy with doctors and other concerned professionals. Part III gives practical advice on singing, posture, and matters pertaTrade ReviewThe concept of the listening posture in Chapter 12 is a remarkable one involving both the posture of the whole body and the posture of the ear itself. I was astounded to read the step-by-step instructions on how to attain the listening posture in the ear by positioning the head and moving various facial muscles. I was even more surprised when I tried the method and found my body responding to the change....The Ear and the Voice is a wonderful introduction to the work and indeed the mind of Alfred Tomatis. Learning from 'his master's voice' is enough to recommend this book to anyone interested in the role of the ear in singing and anyone who isn't afraid of their own ideas being challenged. * Australian Voice *...summarizes [Tomatis's] understanding of the principle role of the ear in listening, in dispensing energy to the nervous system, and in controlling the act of singing. * Scitech Book News *As a close collaborator of Dr. Alfred Tomatis for more than 30 years, I am in a good position to know how difficult it is to present his work in English in a way, which is both easy to read and truthful to his thinking. The writing of Tomatis needs more than a translator; it needs a total rewriting by people who are familiar with his work. This is what Roberta Prada and her collaborators have been able to accomplish and they have done it with great talent. Bravo! The Ear and the Voice offers precious insights and practical tips to singers, teachers in singing and other voice professionals. But it is not just another book on vocal technique. It sheds an entirely new light on many important subjects such as listening, language, learning and communication. If you've never heard of or read Tomatis' work, be ready for a drastically new experience! -- Paul Madaule, Director of The Listening Centre, Toronto, Canada and author of When Listening Comes AliveThis is the best of the books of Professor A. Tomatis. Translation by Roberta Prada is very well done, precise, with some improvements to the original text. I recommend to everybody, especially singers and musicians to read and reread it! -- Dr. Bernard Auriol, PsychiatristFinally available in English, this is a scientific book about singing which contains important neurological insights and is both practical and eminently readable. -- Thomas Hemsley, International Concert and Opera Singer, Professor at the Guildhall School of Music, LondonThis is an evocative read for every musician. From the visionary science and wisdom of Tomatis, The Ear and The Voice provides us with a waterfall of provocative ideas and insights. Long awaited, long overdue, this book is essential for the creative understanding of speech, listening and music making. -- Don Campbell, Musician, Lecturer, Author of The Mozart EffectTable of ContentsPart 1 Foreword Part 2 Preface Part 3 To the Reader Part 4 How to Use This Book Part 5 Acknowledgments Part 6 Part I: Some Reflections on Singing Chapter 7 1 Treating the Voice Chapter 8 2 Singing, the Source of Energy Chapter 9 3 What is a Beautiful Voice? Chapter 10 4 Singing and the Right Ear Chapter 11 5 About Singers Chapter 12 6 The Art of Singing Part 13 Part II: How the Ear Works Chapter 14 7 About Listening Chapter 15 8 Anatomy and Physiology Chapter 16 9 The Ear and the Nervous System Chapter 17 10 The Ear's Control of the Voice Part 18 Part III: Vocal Technique Chapter 19 11 How to Sing Chapter 20 12 Listening Posture: Ear and Body Chapter 21 13 Bone Conduction Chapter 22 14 Breathing Chapter 23 15 Vowels Chapter 24 16 Falsetto Chapter 25 17 What is Needed to Sing Well? Chapter 26 18 Conclusion Part 27 Selected Bibliography Part 28 Index Part 29 About the Authors

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Book SynopsisThis guide presents a detailed discussion of various aspects of historical performance practice, especially as they relate to liturgical polyphony of the Renaissance. The author considers such issues as timbre, tempo, and rhythm, the makeup of the ensemble, articulation, ornamentation, pitch and tuning, and interpretive goalsissues in which pre-modern choral technique and modern practice have often distinctively diverged. Musicological and performance perspectives are both drawn upon to address these issues in a manner that is both documentary as well as practical. This study will be of interest to musicians who specialize in early music, but it is also particularly addressed to conductors and singers who come to early music from the mainstream and perform it in that context. Mainstream choral conductors faced with the need to develop expression in multiple styles across a broad repertory will come to find the interpretation of historical style a congenial ally.Trade Review...the volume alerts conductors and conductors-in-training to important performance issues. Recommended. * CHOICE *...this book will certainly be of value to choral singers and directors who perform early music. * Church Music Quarterly *With an emphasis on the liturgical polyphony of the Renaissance, Plank discusses various aspects of historical choral performance practice. Some of the performance issues addressed include timber, pitch, articulation, ornamentation, tempo, and tuning. Although likely to be of interest to professionals specializing in early music, the text is particularly aimed at conductors and singers who come to "early music" from the mainstream. * Reference and Research Book News *Stephen Plank's book clearly offers the fruits of years of practice and thought on the subject of teaching historical choral singing. It will be of considerable value to singers in and directors of such groups, but also, in casting light on and offering potential solutions to perennial issues and problems, it contains much food for thought for professionals in the field. -- Andrew Kirkman, conductorTable of ContentsPart 1 Acknowledgments Chapter 2 1 Introduction Chapter 3 2 "It's on Account of the Sound It Is" Chapter 4 3 The Ensemble Chapter 5 4 What Pitches Shall We Sing? Chapter 6 5 Rhythm, Tempo, and the Conductor's Gesture Chapter 7 6 Articulation, Ornamentation, and Interpretation Chapter 8 7 Putting Things into Practice Chapter 9 8 So What? Part 10 Bibliography Part 11 Index Part 12 About the Author

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Book SynopsisNow available in paperback! Cornelius Reid may be the Galileo of vocal pedagogy. Claiming to have rediscovered the science and the craft of the Bel Canto maestros, this modern singing master researches as he teaches, and he invites voice students, voice teachers, and voice scientists to share his discoveries. The Modern Singing Master is a compilation of essays written by renowned singing teachers as their testament to their great singing instructor, who enabled them to really understand how to sing and how to teach singing to their students. The essays explain the four basic principles with which he works: the two-register theory, the necessity for pure vowels, the use of rhythm to encourage the muscles to react spontaneously, and the choice of dynamic (loud or soft). His research and interpretations have given birth to a new era of voice and pedagogy known as ''Functional Voice Training.'' This work concludes with a marvelous article written by Cornelius Reid himself on the fascinaTrade ReviewA stimulating mélange of articles...There is much good common sense to be found here * Music Teacher *It will be compulsive, and perhaps should be compulsory, reading for teachers of singing. * The Singer *This book is a wonderful read, no pun intended…full of challenging propositions and affirmations for our own knowledge and practice…Above all, this publication is a mountain-top achievement for a man whose life's journey has been one of constant discovery…Thank you to the initiators of the project that brought this book to fruition. * Australian Voice *Well written and well organized, The Modern Singing Master is an overview of Reid's philosophy, both in his own words, and in the words of others. The volume is an important contribution to the ongoing dialogue about differing pedagogical theories. * Nats Journal Of Singing *The creator of "Functional Voice Training," modern singing master Cornelius L. Reid claims to have rediscovered the science and craft of the Bel Canto maestros. This volume contains contributions from singing teachers trained by him (as well as one from Reid himself) discussing his vocal pedagogy. Sample topics include vocal repair, scientific support for the two-register theory, and the influence of Reid's ideas on voice teaching in Germany. * Reference and Research Book News *This volume is a compilation of essays written by singing teachers as their testament to Cornelius Reid, a great singing instructor who enabled them to really understand how to sing and how to teach singing to their students. In this book, Reid is honoured as the "Philosopher of singing", a teacher whose research and interpretations have given birth to a new era of voice and pedagogy known as Functional Voice Training. The work concludes with an article written by Cornelius Reid himself, detailing the musical journey he has taken over 60 years. * Amazon.Com *Table of ContentsPart 1 Part 1: The Two-Register Theory Controversy Part 2 Part 2: The Two-Register Theory in Practice Part 3 Part 3: Contexts and Affinities Part 4 Part 4: Reid in Germany Part 5 Part 5: Scholarly and Pedagogical Autobiography

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Book SynopsisWith the completion of Volume 3 of Canciones de España: Songs of Nineteenth-Century Spain, 83 songs by 50 19th-century Spanish composers are now available for performance and study, in both high and low voice editions. This final volume presents 31 newly published canciones by 18 composers such as José León, Antonio Mercé Fondevila, Lázaro Núñez Robres, Antonio Reparaz, Gabriel Rodríguez, and Joaquín Valverde. These songs represent the gems of the repertoire, providing examples of song types typical of the period, including the canción andaluza, the canción española, the balada Árabe, the bolero, the habanera, the canzoneta, and the seguidilla. A number of songs included had previously been available only in manuscript form and long forgotten in the depths of the world''s greatest libraries. Here, they are made available and accessible through discussions of 19th-century politics and Spanish song style, a thorough pronunciation guide to Castilian Spanish, both word-for-word and idiomaTrade ReviewThis volume clearly sets out, with success, to provide a new standard for its repertoire. * The Singer, Review of Vol. 1 *This anthology presents a selection of 31 songs for the high voice by 19th-century Castilian Spanish composers. Each has been phonetically transcribed into the International Phonetic Alphabet and is accompanied by both word-for-word and idiomatic translations. A brief biography of the composer is also supplied. Editor Draayer (voice, Winona State U.) summarizes the main song types employed by Spanish composers of the period in the introduction. * Reference and Research Book News, May 2007 *...this is a splendid edition of much needed new material in the genre of Spanish song and one that should be valuable indeed to teachers and students alike. * Journal of Singing, Review of Vol. 1 *a volume well worth investigating for lovely songs that will be new to the study and performance repertoire of all singers. To quote and echo Mr. Castel—"Thank you, Suzanne!" * Journal of Singing, January-February 2008 *Table of ContentsPart 0 ¡Desengaño! Part 1 Alphabetical Song Listing Part 2 Foreword Part 3 Preface Part 4 Acknowledgments Part 5 Introduction Part 6 Spanish Song Types of the Nineteenth Century Part 7 Pronunciation Guide to Castilian Spanish Part 8 Editor's Remarks Part 9 Cual de Aquestas Tres Cosas Part 10 No Hay Quien Dé Una Limosna Part 11 Un Medio de Que Vivas Part 12 El Chalán Part 13 A María Part 14 Rosa Part 15 A... Part 16 Lágrimas Part 17 A Mi Nazarena Part 18 El Beso del Poeta Part 19 Plegaria Part 20 Si al Mecer las Azules Campanillas Part 21 Nice Vengada o Los Ojuelos Part 22 Canciones del Hogar Part 23 El Despecho Part 24 Mis Descuidados Ojos Part 25 Seguidillas del Requiem Eternam Part 26 Si a Otro Cuadro me Quieres Part 27 El Barquero Part 28 La Serenata Part 30 ¡Mi Pobre Reja! Part 31 A la Incredulidad Part 32 El Túmulo Part 33 El Pelele Part 34 Niña Pancha Part 35 Las Castañuelas Part 36 Bibliography Part 37 Appendix 1: Songs Arranged by Level of Difficulty and by Gender, Volume 1, Canciones de Espana—Songs of Nineteenth-Century Spain Part 38 Appendix 2: Songs Arranged by Level of Difficulty and by Gender, Volume 2, Canciones de Espana—Songs of Nineteenth-Century Spain Part 39 Appendix 3: Songs Arranged by Level of Difficulty and by Gender, Volume 3, Canciones de Espana—Songs of Nineteenth-Century Spain Part 40 About the Editor

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Book SynopsisWith the completion of Volume 3 of Canciones de España: Songs of Nineteenth-Century Spain, 83 songs by 50 19th-century Spanish composers are now available for performance and study, in both high and low voice editions. This final volume presents 31 newly published canciones by 18 composers such as José León, Antonio Mercé Fondevila, Lázaro Núñez Robres, Antonio Reparaz, Gabriel Rodríguez, and Joaquín Valverde. These songs represent the gems of the repertoire, providing examples of song types typical of the period, including the canción andaluza, the canción española, the balada Árabe, the bolero, the habanera, the canzoneta, and the seguidilla. A number of songs included had previously been available only in manuscript form and long forgotten in the depths of the world''s greatest libraries. Here, they are made available and accessible through discussions of 19th-century politics and Spanish song style, a thorough pronunciation guide to Castilian Spanish, both word-for-word and idiomatic translations, and International Phonetic Alphabet transcriptions. Short biographies of each composer add insight to the compositions. Rounding out the anthology, this final volume includes appendixes that list all 83 songs by level of difficulty and by gender. This anthology allows singers and voice teachers to explore the poetry, culture, and history of Spain through its songs, demonstrating that the songs deserve their rightful place in the classical song repertoire of Europe and the Americas.Trade ReviewThis volume clearly sets out, with success, to provide a new standard for its repertoire. * The Singer, Review of Vol. 1 *More than two-dozen canciones for the low voice are presented in this anthology of works by 19th-century Castilian Spanish composers. Each score is accompanied by a word-for-word and an idiomatic translation as well as an IPA transcription of the text. Editor Draayer (voice, Winona State U.) also provides a pronunciation guide and an overview of the primary song types of the period in the introduction. * Reference and Research Book News, May 2007 *...this is a splendid edition of much needed new material in the genre of Spanish song and one that should be valuable indeed to teachers and students alike. * Journal of Singing, Review of Vol. 1 *a volume well worth investigating for lovely songs that will be new to the study and performance repertoire of all singers. To quote and echo Mr. Castel—"Thank you, Suzanne!" * Journal of Singing, January-February 2008 *Table of ContentsPart 1 Alphabetical Song Listing Part 2 Foreword Part 3 Preface Part 4 Acknowledgments Part 5 Introduction Part 6 Spanish Song Types of the Nineteenth Century Part 7 Pronunciation Guide to Castilian Spanish Part 8 Editor's Remarks Part 9 Cual de Aquestas Tres Cosas Part 10 No Hay Quien Dé Una Limosna Part 11 Un Medio de Que Vivas Part 12 El Chalán Part 13 A María Part 14 Rosa Part 15 A... Part 16 Lágrimas Part 17 A Mi Nazarena Part 18 El Beso del Poeta Part 19 Plegaria Part 20 Si al Mecer las Azules Campanillas Part 21 Nice Vengada o Los Ojuelos Part 22 Canciones del Hogar Part 23 El Despecho Part 24 Mis Descuidados Ojos Part 25 Seguidillas del Requiem Eternam Part 26 Si a Otro Cuadro me Quieres Part 27 El Barquero Part 28 La Serenata Part 29 ¡Desengaño! Part 30 ¡Mi Pobre Reja! Part 31 A la Incredulidad Part 32 El Túmulo Part 33 El Pelele Part 34 Niña Pancha Part 35 Las Castañuelas Part 36 Bibliography Part 37 Appendix 1: Songs Arranged by Level of Difficulty and by Gender, Volume 1, Canciones de Espana-Songs of Nineteenth-Century Spain Part 38 Appendix 2: Songs Arranged by Level of Difficulty and by Gender, Volume 2, Canciones de Espana-Songs of Nineteenth-Century Spain Part 39 Appendix 3: Songs Arranged by Level of Difficulty and by Gender, Volume 3, Canciones de Espana-Songs of Nineteenth-Century Spain Part 40 About the Editor

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Book SynopsisThis significant volume is the first to present in detail the entire prolific vocal repertoire of the late-Romantic German composer Max Reger. The Songs of Max Reger: A Guide and Study begins with a brief introduction discussing the development of German Lied, then journeys through this creative composer''s works for voice and piano. With many musical examples, Richard Mercier and Donald Nold present a survey and discussion of Reger''s lifetime of song output. The book proceeds through the songs chronologically by opus number, discussing each individually. All entries include details pertinent to the song''s particular poem, its musical setting, the date of musical composition, the vocal range required, and discussion of specific vocal and pianistic features. The text also provides the original German poem, word-for-word English translation of the German text, IPA (International Phonetic Alphabet) pronunciation symbols for the German, and a prose version of the poetic text in English for better appreciation of the piece. An index and two appendixes complete this important reference, arranging the songs by title and poet and supplying information on vocal range, level of difficulty, and gender. Designed for the classical vocal music enthusiast and invaluable to the singer and vocal coach, this book, commemorating the 135th anniversary of the composer''s birth, will also appeal to accompanists, Reger scholars, and lovers of German Lieder and German art and culture.Trade ReviewI read The Songs of Max Reger with keen interest and found that the book provides singer/pianist duos and other song lovers with a splendid opportunity to improve their knowledge of this composer of unconventional and very moving German art songs. More importantly, the authors teach us how to perform German Art Song in general, and in particular the songs of Max Reger. His beautiful songs absolutely deserve to be performed more often. They will surprise the listener by their originality, especially with the guidance offered by Richard Mercier and Donald Nold. Warmly recommended. -- Elly Ameling, World famous Dutch soprano

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Book SynopsisTrade ReviewThe present volume offers a concise yet detailed survey of Spain's art song from its origins through the compositions of Manuel Garcia, Jose Leon, Fernando Sor and others, to the fruition of the genre in the repertoire of the late nineteenth and early twentieth century composers, including the much-lamented Federico Garcia Lorca....Students of the genre are fortunate that the present study has been entrusted to an author whose background and professional interests eminently qualify her to undertake this task.....The book is a "must" for students of Spanish lyrical song and should be available in any comprehensive music library. -- Peter Wellburn, 2010 * s *The biographies in this book are quite thorough and Draayer's passion for the subject matter comes through as genuine....Her elegant prose makes the entries compelling and her list of sources guides the interested reader toward more information....This book would be an excellent addition to any scholar's or vocal teacher's library, especially one who seeks to expand beyond the French, German, and Italian offerings. * Notes: Quarterly Journal of the Music Library Association, June 2010 *The author masterfully encapsulates two centuries of politics and wars in a well-written synopsis, and traces the concurrent development of music in particular, and the arts in general. ... Art Song Composers of Spain is a necessity for every college library, and studio instructors interested in broadening their teaching repertoire should add this book to their shelves. * Journal of Singing, December 2009 *

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Book SynopsisThe Opera Singer's Career Guide: Understanding the European Fach System describes the features, characteristics, and benefits of the Fach system, including voice categorization and classification and using Fach to train the young voice. It also provides practical information on maintaining a career in opera.Trade Review[This work] is an exceptionally practical text for singers and teachers, in that it addresses every aspect of the craft and career management that a North American singer who is not yet familiar with the European system should consider. It may, in fact, be of just as much value to a German or European singer sharing the same aspirations. . . .[T]his is the first text that combines all of this information in one volume, making it a most convenient reference. The appendixes will prove excellent references to anyone considering employment in Europe, as they contain not only listings of all major opera houses in Germany, Austria, and Switzerland, including contact information for all the major agencies, but also extensive role and audition repertoire lists for all voice types (including children). * Music Education Research *Dr. Pearl Yeadon McGinnis' new book, The Opera Singer's Career Guide, is part handbook, part guidebook, part love letter to a genre. She has created a marvel of utility: an efficient and painstakingly compiled book full of organized thought, pertinent and useful information with the success of the singer in mind. For the aspiring artist seeking a career abroad, Dr. Yeadon's work will provide both direction and assurance; the amateur opera lover will delight in the behind-the-scenes descriptions of people, places, and performances. The book will serve as a great encouragement to young singers in their career pursuit, and stands as a fitting legacy: a final gift from a formidable, unfailingly generous artist and gifted teacher whose passion for helping students knew no bounds. -- Dr. Andrew Childs, Lyric Tenor, and Professor and Chair of Music at St. Mary's College

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Book SynopsisBedrich Smetana''s comic opera Prodaná nevesta/The Bartered Bride is cherished as the Czech national opera and is the most popular Czech opera in the world. As performances in English-speaking countries have moved from German to English back to the original Czech, The Bartered Bride - Prodaná nevesta: Performance Guide with Translations and Pronunciation fills the need for an accessible, detailed guide to singing the work in Czech, as well as being valuable for those wishing to make or improve on an English singing translation. Timothy Cheek provides idiomatic and word-for-word translations of the complete libretto for The Bartered Bride, including the International Phonetic Alphabet for Czech pronunciation, as well as translations of stage and musical directions. In addition, he offers an extensive performance history, a synopsis of the opera, general musical comments, a discussion of the roles, notes on the dances and choreographers, and an overview of Czech pronunciation and inflecTrade ReviewAn invaluable guide for anyone planning to produce Prodaná nevesta; it addresses a multitude of issues, ranging from possible cuts in the score, to accuracy of editions. The volume is also a useful resource for opera aficionados interested in the history of the work. ... With this performance guide, Cheek has made another significant contribution to the study of Czech repertoire. * Journal of Singing *Wow! This book is a treasure! It’s put together so expertly, so thoroughly, and so lovingly. Thank you, Professor Cheek, for demystifying The Bartered Bride and giving us both the resources and the confidence to produce this wonderful opera in Czech. -- Stephen Dubberly, Opera Music Director, University of North TexasNo more excuses! Whether your questions about Smetana’s opera Prodaná nevesta pertain to translation and pronunciation of the Czech language, the opera’s history, its traditions or performance practices, Timothy Cheek has answered them all in his marvelous new book. This is a stunning achievement; one that I hope will place this masterful work where it belongs, in the repertoire of every professional opera company and every university opera workshop…and in its original language. Bravo, Dr. Cheek, and thank you! -- Benton Hess, Distinguished Professor of Voice, Eastman School of Music; Musical Director, Eastman Opera TheatreProfessor Timothy Cheek's book, The Bartered Bride—Prodana Nevesta: Performance Guide with Translations and Pronunciation, including literal and practical translations in English as well as an IPA transcription, is a masterful work. The first part of the work is dedicated to the The Bartered Bride in its various versions along with a fascinating detailed performance history- productions, singers, conductors, choreographers- as well as a crystal clear guide to the pronunciation of the Czech language. The second part is a pristine layout of the original Czech, the IPA guide, a literal translation as well as a practical one. It couldn't be easier to use. I can't imagine a finer work on The Bartered Bride in the English language appearing any time soon. For anyone interested in studying or performing this glorious piece, Professor Cheek's new work is without competition and utterly invaluable. Bravo, Tim -- Craig Rutenberg, Head of Music Administration, The Metropolitan Opera

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Book SynopsisAlthough the music of Spain is diverse, profound, colorful and deserving of recognition, a collection of nineteenth century Spanish songs has never been available to singers in the United States. Until now, Spain has been neglected in the study of music history. Collections of zarzuela arias have been published, but art song composed prior to Turina, Granados, Obradors, de Falla, and Rodrigo have remained in the archives of Spanish libraries. This fascinating anthology, a collection of 23 songs composed by a variety of Spanish composers born in the nineteenth century, provides an exciting opportunity to explore the gems of Spanish vocal repertoire. Songs have been selected by virtue of the quality of the poetry, the artistry of the song setting, the beauty of the melody, the variety of the accompaniment, and those with an indigenous flavor. This repertoire is fresh, exciting, and unique, utilizing lovely Spanish rhythms, harmonies and poetry. Available both in high and low voice editio

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Book SynopsisGREAT SINGERS PB

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Book SynopsisACTING WITH THE VOICE

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Book Synopsis

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Book SynopsisThe main section of this book is arranged by voice type, with entries subarranged by composer. Each entry gives the composer''s name and dates, the title and date of the work, names of individual movements, publisher, source and language of text, instrumentation, vocal range, and level of difficulty. Indexes by performing media, composers, sources of texts, and publishers complete the work.

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