Singing: techniques Books

Book SynopsisCountry music, an original American artform, has been around since before the recording industry began and long before a singer even had the opportunity to sing into a microphone. From the early beginnings in the hills of Appalachia, to the rise of Hank Williams, Patsy Cline, and the more recent megastars, including Garth Brooks and Carrie Underwood, country music has proven to have staying power. It is one of the most popular styles of music in the world today, garnering more sales and downloads currently than any other genre. Many talented individuals are aspiring to sing country music and are determined to turn it into a successful career. Because of this growing popularity, there is a need to educate interested singers with information and methods that will give them the best possible chance at either having a career as a artist, working in the industry as a background vocalist or session singer, or simply realizing their potential in country music.Kelly K. Garner''s So You Want ToTrade ReviewThis volume is an excellent introduction to the style and repertoire of country music. Garner offers a wide ranging and realistic overview of the industry, and clearly explains the requisite skills for singers who wish to work in this field. In addition, she identifies opportunities in the field beyond those of performers. The volume is an enlightening guide to the genre; it is highly recommended for anyone interested in country music. * Journal of Singing *Table of ContentsChapter 1 – The Evolution of Country Music Chapter 2 – Singing Country and Voice Science, Scott McCoy Chapter 3 – Vocal Health and the Country Music Artist, Wendy LeBorgne Chapter 4 – Country Voice Pedagogy and Style Chapter 5 – The Country Song Chapter 6 – Performing Country Music Chapter 7 – Career Options in Country Music Chapter 8 – Business Considerations Chapter 9 – Using Audio Enhancement Technology, Matthew Edwards Chapter 10 – Conclusion Appendix A – Suggested Repertoire/Songs Appendix B – Singing/Warm-Up Exercises Appendix C – Biographies

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Book SynopsisFrench Vocal Literature: Repertoire in Context introduces singers to the history and performance concerns of a vast body of French songs from the twelfth century to the present, focusing on works for solo voice or small vocal ensembles with piano or organ accompaniment, suitable for recitals, concerts, and church performances. Georgine Resick presents vocal repertoire within the context of trends and movements of other artistic disciplines, such as poetry, literature, dance, painting, and decorative arts, as well as political and social currents pertinent to musical evolution. Developments in French style and genreand comparisons among individual composers and national stylesare traced through a network of musical influence. French Vocal Literature is ideally suited for voice teachers and coaches as well as student and professional performers. The companion website, frenchvocalliterature.com, provides publication information, a discography, links to online recordings and scores, a chroTrade ReviewMany singers would find this [book] to be a welcome addition to the literature. . . The text would be a natural fit for a college vocal literature course. . . French Vocal Literature further establishes Resick’s reputation as a champion of underestimated composers and their work by providing resources for future generations while honoring the legacy of generations past. * Classical Singer Magazine *Beginning with 12th-century troubadours and trouvères and continuing to the present, Resick discusses French composers and their repertoires for solo voice accompanied by keyboard or small ensemble. Resick extends her focus beyond the standard repertoire (Fauré, Debussy, Poulenc) to such neglected works as troubadour songs, 18th-century cantatas, and innovative post–WW II compositions by Edgard Varèse, Pierre Boulez, Betsy Jolas, and others. The author introduces several recurring themes in French music history—the long tradition of listening to music for pleasure; exotic influences from Spain, northern Africa, the Far East, and other locales; resistance to influence from Italian opera in the Baroque and Romantic periods; and the originality and independence of French composers across nine centuries. The author contextualizes the musical selections of each period by placing them in their political, social, and/or philosophical frame, and she discusses the relationship of music to the other arts, especially poetry and literature. Important terms are introduced in bold letters and defined in a six-page glossary, and a companion website includes a discography and publication information for each song presented in the text. Summing Up: Recommended. Upper-division undergraduates through faculty and professionals. * CHOICE *A recitalist’s dream! Internationally recognized artist and scholar Georgine Resick presents and celebrates overlooked treasures in French Vocal Literature, exploring historic context, poetry, and relevance. The book is an illuminating adventure—a fresh, comprehensive guide for teachers, singers, and coaches. -- Gary Glaze, professor emeritus, vocal arts and opera, Flora L. Thornton School of Music, University of Southern CaliforniaResick synthesizes essential historical, literary, and musicological information to illuminate the origins and evolution of French vocal repertoire in a context that will inform a deep understanding of style for the performer. Don’t program your next vocal recital without reading this book first! -- Paul Appleby, tenor, Metropolitan OperaTable of ContentsPrologue: French Prosody Chapter One: French Poetry and the Development of Vocal Forms (12th-16th centuries) Chapter Two: The Turbulent Century and the Air de cour (1576-1661) Chapter Three: The Grand Siècle: Louis XIV and the birth of French opera (1661-1715) Chapter Four: Life after Lully (1697-1750) Entr’acte: Enlightenment, Revolution and Empire (1750-1815) Chapter Five: Romance to Mélodie: The Advent of Romanticism in France (1815-1848) Chapter Six: Middle Class Mélodie (1848-1870) Chapter Seven: The Mélodie as Chamber Music (1850-75) Chapter Eight : Wagnerites and Acolytes (1880s and 1890s) Chapter Nine: The Belle Epoque I (1885-1894) Chapter Ten: Harmonic and Prosodic Rebels: The “Impressionists” (Belle Époque II:1894-1906) Chapter Eleven: “True France” and the March to War (Belle Époque III: 1906-1914) Chapter Twelve : Les Années folles: Cocteau, Satie and Les Six (1918-1930) Chapter 13: Mystical Mélodie: Romanticism extended (1914-1945) Chapter Fourteen: Into the Twenty-First Century: Connecting the Irreconcilable (1945-present)

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Book SynopsisFrench Vocal Literature: Repertoire in Context introduces singers to the history and performance concerns of a vast body of French songs from the twelfth century to the present, focusing on works for solo voice or small vocal ensembles with piano or organ accompaniment, suitable for recitals, concerts, and church performances. Georgine Resick presents vocal repertoire within the context of trends and movements of other artistic disciplines, such as poetry, literature, dance, painting, and decorative arts, as well as political and social currents pertinent to musical evolution. Developments in French style and genreand comparisons among individual composers and national stylesare traced through a network of musical influence. French Vocal Literature is ideally suited for voice teachers and coaches as well as student and professional performers. The companion website, frenchvocalliterature.com, provides publication information, a discography, links to online recordings and scores, a chroTrade ReviewMany singers would find this [book] to be a welcome addition to the literature. . . The text would be a natural fit for a college vocal literature course. . . French Vocal Literature further establishes Resick’s reputation as a champion of underestimated composers and their work by providing resources for future generations while honoring the legacy of generations past. * Classical Singer Magazine *Beginning with 12th-century troubadours and trouvères and continuing to the present, Resick discusses French composers and their repertoires for solo voice accompanied by keyboard or small ensemble. Resick extends her focus beyond the standard repertoire (Fauré, Debussy, Poulenc) to such neglected works as troubadour songs, 18th-century cantatas, and innovative post–WW II compositions by Edgard Varèse, Pierre Boulez, Betsy Jolas, and others. The author introduces several recurring themes in French music history—the long tradition of listening to music for pleasure; exotic influences from Spain, northern Africa, the Far East, and other locales; resistance to influence from Italian opera in the Baroque and Romantic periods; and the originality and independence of French composers across nine centuries. The author contextualizes the musical selections of each period by placing them in their political, social, and/or philosophical frame, and she discusses the relationship of music to the other arts, especially poetry and literature. Important terms are introduced in bold letters and defined in a six-page glossary, and a companion website includes a discography and publication information for each song presented in the text. Summing Up: Recommended. Upper-division undergraduates through faculty and professionals. * CHOICE *A recitalist’s dream! Internationally recognized artist and scholar Georgine Resick presents and celebrates overlooked treasures in French Vocal Literature, exploring historic context, poetry, and relevance. The book is an illuminating adventure—a fresh, comprehensive guide for teachers, singers, and coaches. -- Gary Glaze, professor emeritus, vocal arts and opera, Flora L. Thornton School of Music, University of Southern CaliforniaResick synthesizes essential historical, literary, and musicological information to illuminate the origins and evolution of French vocal repertoire in a context that will inform a deep understanding of style for the performer. Don’t program your next vocal recital without reading this book first! -- Paul Appleby, tenor, Metropolitan OperaTable of ContentsPrologue: French Prosody Chapter One: French Poetry and the Development of Vocal Forms (12th-16th centuries) Chapter Two: The Turbulent Century and the Air de cour (1576-1661) Chapter Three: The Grand Siècle: Louis XIV and the birth of French opera (1661-1715) Chapter Four: Life after Lully (1697-1750) Entr’acte: Enlightenment, Revolution and Empire (1750-1815) Chapter Five: Romance to Mélodie: The Advent of Romanticism in France (1815-1848) Chapter Six: Middle Class Mélodie (1848-1870) Chapter Seven: The Mélodie as Chamber Music (1850-75) Chapter Eight : Wagnerites and Acolytes (1880s and 1890s) Chapter Nine: The Belle Epoque I (1885-1894) Chapter Ten: Harmonic and Prosodic Rebels: The “Impressionists” (Belle Époque II:1894-1906) Chapter Eleven: “True France” and the March to War (Belle Époque III: 1906-1914) Chapter Twelve : Les Années folles: Cocteau, Satie and Les Six (1918-1930) Chapter 13: Mystical Mélodie: Romanticism extended (1914-1945) Chapter Fourteen: Into the Twenty-First Century: Connecting the Irreconcilable (1945-present)

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Book SynopsisThis resource offers a thorough analysis of the German and English languages and includes oral drills, word lists, tables, charts, musical examples, and tongue twisters. Unique to this publication is the illustration of the rhythmic timing and release of consonants within the International Phonetic Alphabet transcriptions in all musical examples.Table of ContentsPART I: INTRODUCTION Chapter 1: Elementary Concepts Chapter 2: Proficiency in English IPA Chapter 3: Proficiency in German IPA PART II: ENGLISH Chapter 4: Introduction to English Diction for Singers Chapter 5: English Phonemes Chapter 6: The Structure of English Chapter 7: Characteristic English Phonemes Chapter 8: Vowels Chapter 9: Glides and Approximants Chapter 10: Consonants Chapter 11: Advanced Concepts in Diction Chapter 12: Common Pitfalls PART III: GERMAN Chapter 13: Introduction to German Diction for Singers Chapter 14: German Phonemes Chapter 15: The Structure of German Chapter 16: Characteristic German Phonemes Chapter 17: Vowels Chapter 18: Consonants Chapter 19: Advanced Concepts in Diction Chapter 20: Common Pitfalls PART IV: ENGLISH AND GERMAN—COMMON GROUND Chapter 21: Commonalities Between English and German Chapter 22: Legato Singing Chapter 23: Close but No Cigar Chapter 24: Lyric Diction in Opera Chapter 25: Concise History of the English Language Appendix A: Glossary of Phonetic and Anatomical Terms Appendix B: Supplements Appendix C: Suggested Repertoire for Lyric Diction Study Flashcard (removable reference for English and German IPA)

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Book SynopsisThis resource offers a thorough analysis of the German and English languages and includes oral drills, word lists, tables, charts, musical examples, and tongue twisters. Unique to this publication is the illustration of the rhythmic timing and release of consonants within the International Phonetic Alphabet transcriptions in all musical examples.Table of ContentsPART I: INTRODUCTION Chapter 1: Elementary Concepts Chapter 2: Proficiency in English IPA Chapter 3: Proficiency in German IPA PART II: ENGLISH Chapter 4: Introduction to English Diction for Singers Chapter 5: English Phonemes Chapter 6: The Structure of English Chapter 7: Characteristic English Phonemes Chapter 8: Vowels Chapter 9: Glides and Approximants Chapter 10: Consonants Chapter 11: Advanced Concepts in Diction Chapter 12: Common Pitfalls PART III: GERMAN Chapter 13: Introduction to German Diction for Singers Chapter 14: German Phonemes Chapter 15: The Structure of German Chapter 16: Characteristic German Phonemes Chapter 17: Vowels Chapter 18: Consonants Chapter 19: Advanced Concepts in Diction Chapter 20: Common Pitfalls PART IV: ENGLISH AND GERMAN—COMMON GROUND Chapter 21: Commonalities Between English and German Chapter 22: Legato Singing Chapter 23: Close but No Cigar Chapter 24: Lyric Diction in Opera Chapter 25: Concise History of the English Language Appendix A: Glossary of Phonetic and Anatomical Terms Appendix B: Supplements Appendix C: Suggested Repertoire for Lyric Diction Study Flashcard (removable reference for English and German IPA)

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Book SynopsisSo You Want to Sing the Blues: A Guide for Performers shines a light on the history and vibrant modern life of blues song. Eli Yamin explores those essential elements that make the blues sound authentic and guides readers of all backgrounds and levels through mastering this art form. He provides glimpses into the musical lives of the women and men who created the blues along with a listening tour of seminal recordings in the genre's history.The blues presents many unique challenges for singers, who must shout, slide, and serenade around the accompanying music. By offering concrete explanations and exercises of key blues elements, this book guides singers to create authentic self-expressions informed by the style's rich history and supported by strong technique. Teachers and singers of all levels will find this book a welcome guide to participating in this culturally diverse and uplifting style.The So You Want to Sing series is produced in partnership with the National Association of TeTrade ReviewBlues was born in the United States but many people don’t know how important it is to our musical and cultural heritage. Eli Yamin’s book is a perfect guide for teachers of singing and singers, introducing them to an authentic understanding of blues and of singing it in a healthy way straight from the heart. -- Jeanie LoVetri, The Voice Workshop, Singing Voice SpecialistThis wonderful book takes a comprehensive and informative look at the blues, serving as a guide to singing the blues and keeping a healthy voice. And it’s fun to read! Thank you, Eli Yamin, for your love and vast knowledge of this important American art form. -- Catherine Russell, Grammy-winning Contemporary Jazz & Blues vocalist and recording artistIf you want to sing the blues, this is the first book I recommend. Along with detailed notes on technique and vocal health when singing the blues, Eli Yamin’s depth of knowledge and passion brings the rich history of the blues to life for the reader. -- Sharon Burch, Managing Director and Education Consultant, Jazz Education NetworkTable of ContentsChapter 1 – Origins of the Blues Chapter 2 – Singing and Voice Science, Scott McCoy Chapter 3 – Vocal Health for the Blues Singer, Wendy LeBorgne Chapter 4 – The Magic and Mechanics of Blues Singing, Darrell Lauer with Eli Yamin Chapter 5 – Developing Authentic Style Characteristics: Early Blues Women Chapter 6 – Developing Authentic Style Characteristics: Early Blues Men and Another Woman Chapter 7 – Developing Authentic Style Characteristics: Chicago Blues and the Modern Blues Vocal Sound Chapter 8 – Making a Soulful Sound and Writing Your Own Blues Chapter 9 – Using Audio Enhancement Technology, Matthew Edwards

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Book SynopsisThe world loves to sing. From barbershop groups to madrigal choirs to vocal rock bands there are tens of thousands of vocal groups in America. The success of mainstream television programs such as ÊGleeÊ and ÊThe Sing-OffÊ not only demonstrates the rising popularity of vocal music; it reflects how current trends inspire others to join in. In addition through various online and on-the-ground vocal music societies the a cappella market is well defined and well connected. Like singing itself a cappella is a global phenomenon.ÞAt the heart of every vocal group is the music it performs. This often means writing its own arrangements of popular or traditional songs. This book is the long-awaited definitive work on the subject wide ranging both in its scope and in its target audience ä which spans beginners music students and community groups to professional and semi-professional performers vocal/instrumental songwriters composers and producers ä providing genre-specific insight on

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Book SynopsisTHE ART OF SINGING ONSTAGE AND IN THE STUDIO:UNDERSTANDING THE PSYCHOLOGY RELATIONSHI

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Book SynopsisVocal chamber music encompasses a wide range of music composed for anything from a solo to twelve voices and instruments. Performing chamber music offers the singer a unique opportunity to increase collaboration with instrumentalists and improve technique, musicianship, artistry, and communication. So You Want to Sing Chamber Music offers a comprehensive guide to learning, rehearsing, and performing in this genre. The book explores such critical skills as choosing repertoire that is appropriate for one’s voice type, communicating with wind players and string players, preparing for a successful rehearsal, performance style, staging considerations, and recital programming. Also included are suggestions on using vocal chamber music as a pedagogical tool in the voice studio, alongside recommendations for listening and further reading. Additional chapters by Scott McCoy and Wendy LeBorgne address universal questions of voice science, pedagogy, and vocal health. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Chamber Music features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resourcesTrade ReviewThis superbly written and logically organized book is a must-have resource for every voice teacher and singer, amateur or professional. It is filled with excellent reasons to add chamber music to ones’ repertoire and contains information on its history, stylistic forms and characteristics, uses for pedagogical, performance, and artistic development with a multitude of repertoire and resource suggestions for recital programming. Don’t miss this one! There’s no other book quite like it. -- Sharon Mabry, Austin Peay State UniversitySusan Hochmiller succeeds in exploring most gratifyingly the long tradition of vocal chamber music. Besides being extremely informative in numerous areas, this book argues strongly for the inclusion of this marvelous and often-neglected area of our repertoire in voice curricula and recitals, with benefits to all who take part. I know that this volume will become an often-consulted and valuable addition to my teaching library. -- Russell Miller, Eastman School of Music, University of RochesterHochmiller’s book is welcome indeed, being a thorough, thoughtful, engaging and informative addition to the available literature on this worthy topic. We often neglect those aspects of vocal study that involve collaboration with anyone other than a pianist. This can be a very limiting perspective, and Hochmiller helps both students and teachers to broaden their understanding of what it means to leave no stone unturned in their pursuit of excellence. This is a most welcome and valuable book! -- Karen Holvik, New England ConservatoryTable of ContentsChapter 1 – A Brief History of Chamber Music Chapter 2 – Why Sing Chamber Music? Chapter 3 – How to Program Vocal Chamber Music Chapter 4 – Breathe with the Bow: Communicating with Instrumentalists Chapter 5 – Stylistic Considerations Chapter 6 – Pedagogical Advantages of Using Vocal Chamber Music in the Voice Studio Chapter 7 – Singing and Voice Science, Scott McCoy Chapter 8 – Vocal Health for the Chamber Music Singer, Wendy LeBorgne Appendix – Introductory List of Art Song Duets, Trios, and Quartets Appendix – Selected Journal of Singing Articles, James Maroney and Joan Frey Boytim

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Book SynopsisComplete Vocal Fitness: A Singer’s Guide to Physical Training, Anatomy, and Biomechanics is a primer on sport-specific training for vocal athletes. Elite athletes apply cutting-edge research in movement and physiology to customize fitness regimens that ensure peak performance. The principles of sports science that enable them to fine-tune strength, flexibility and dynamic stabilization to meet the requirements of a given sport are invaluable for preparing the body to meet the physical demands of singing. This book will teach you to: ·Optimize alignment by identifying and resolving postural distortions ·Balance strength and flexibility throughout your torso to facilitate full breathing and promote coordinated breath management ·Improve oxygen consumption to enhance your stamina and ability to sustain long phrases ·Stabilize your spine and major joints in order to continue performing with solid technique while meeting the demands of stage movement Musicians of all kinds benefit from understanding the basics of how their instruments work. This book is also a guide to how the vocal instrument functions. You will find accessible descriptions of the fundamental components of vocal anatomy – laryngeal function, articulation and resonance – explaining their movements, their interaction with one another, their integration with the anatomy of breathing and alignment, and relating them to common non-anatomical terminology often used in the voice studio.Trade ReviewClaudia Friedlander has a deep understanding of the biomechanics of singing, and she does a beautiful job of explaining it to the rest of us. For singers and teachers looking for ways to improve vocal technique, her book is the perfect place to start. -- Deborah Voigt, internationally renowned sopranoPerformers of opera and musical theatre are, in fact, singing athletes. We need to maintain our bodies and instruments with the training and focus of a marathon runner, and Dr. Friedlander has written a guide on how to embrace a lifestyle which will not only enhance physical health but also the health of one's instrument. Every singer should own a copy of this book! -- Jennifer Rowley, Metropolitan Opera sopranoFinally, here is a book that treats singing as the athletic endeavor that it is. It offers step-by-step instructions for identifying then correcting physical imbalances through targeted stretches and strength training exercises. The illustrations are much more useful than the anatomy books we’ve used for years, because they address issues of the singer and include only the pertinent information. If you are serious about singing, this book should live on your piano! -- Rod Gilfry, Associate Professor of Vocal Arts, USC Thornton School of Music, baritoneTable of ContentsAcknowledgments Preface Introduction: Sport-Specific Training for the Vocal Athlete Chapter 1: Alignment Chapter 2: Breathing Chapter 3: Laryngeal Function Chapter 4: Articulation & Resonance Chapter 5: The Mind/Body Connection Chapter 6: A Singer-Centered Workout Regimen Chapter 7: Warming Up Chapter 8: Fueling Your Art Chapter 9: Maintaining Your Health Chapter 10: Form Follows Function About the Author About the Artists Additional Resources Glossary

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Book SynopsisFrom amateur collegiate a cappella groups to professional ensembles like Straight No Chaser and Pentatonix, contemporary a cappella has exploded onto the world pop music scene. In So You Want to Sing A Cappella, Deke Sharon combines historical context and a comprehensive look at the a cappella community with a detailed discussion of vocal techniques, rehearsal practices, and live audio support needed to sing great a cappella. Additional contributed chapters examine singing and voice science, vocal health, vocal percussion, and audio technology. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing, and each book features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.Trade ReviewDeke Sharon brings his infectious, you-can-do-it-too attitude to So You Want to Sing A Cappella. (And who doesn't?!) A cappella literally means ‘in the style of the chapel,’ but Deke teaches in the style of awesome.— -- Mickey Rapkin, Mickey Rapkin, author of the book Pitch PerfectDeke Sharon is one of the founding fathers of contemporary a cappella, immersed in the cultivation and advancement of this beautiful art form. Needless to say, if you love a cappella, this book is a must-have. -- Avi Kaplan, PentatonixDeke Sharon's exhaustive knowledge and tireless championship have helped a cappella reach unprecedented audiences. His eyewitness account of the birth of contemporary a cappella and his unique involvement in its emergence make for a groundbreaking book. -- Scott Leonard, RockapellaThis is a treasure trove for anyone serious about singing a cappella. Deke is the godfather and here he brings together a rich repository of expertise and useful information applicable to everyone from the casual singer to the professional. This is a must-have book to add to your library. -- Gareth Malone, BBC's The Choir, Pitch BattleDeke Sharon is a great steward of a cappella and tireless champion of lifting others. Whenever he's got a project coming up or out, I'm standing in line. -- Claude McKnight, Take 6". . . the book is a compelling argument for how singing reaffirms the importance everyone possesses, both within an ensemble and in society." * Classical Singer Magazine *Table of ContentsWho – The Styles and Groups That Set the Stage for Contemporary A Cappella Chapter 1 – Precontemporary A Cappella Chapter 2 – Contemporary A Cappella: A Personal History What – The Original and Most Powerful Instrument: The Human Voice Chapter 3a – Singing and Voice Science, Scott McCoy Chapter 3b – Anatomy of an A Cappella Group Chapter 4a – Vocal Health for the A Cappella Singer, Wendy LeBorgne Chapter 4b – A Cappella Group Health How – Contemporary A Cappella’s Extended Vocal Techniques and Practices Chapter 5 – Vocal Techniques and Vocal Instruments Chapter 6 – Vocal Percussion for Everyone, Kari Francis Chapter 7 – Blend Chapter 8 – Rehearsal Techniques Chapter 9 – Using Audio Enhancement Technology, Matthew Edwards Chapter 10 – A Cappella Audio Tech, Tony Huerta When – Sing for Your Life: A Cappella Ensembles for All Ages Chapter 11 – Scholastic A Cappella Chapter 12 – Professional A Cappella Chapter 13 – Recreational A Cappella Where – Careers: Opportunities for Full and Part-Time Employment in A Cappella Chapter 14 – In the Theater Chapter 15 – In the Recording Studio Chapter 16 – In the Rehearsal Room Chapter 17 – Behind the Scenes Why – The Reason A Cappella Matters Chapter 18 – Harmony through Harmony Chapter 19 – Conclusion

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Book SynopsisA great majority of European music written before 1750 is for voices but remains understudied and underperformed. It includes music for groups of voices and solo voices, with and without instruments, music for the church and the theater, for the court and the chamber, as well as music in different languages and with different national styles. In So You Want to Sing Early Music, Martha Elliott introduces this remarkably rich and varied repertoire within a historical context for the 21st century singer. Focusing on music from the 17th and early 18th centuries, this book offers guidance on style and ornamentation, working with vocal and instrumental colleagues, reading manuscripts and edited editions of scores. Elliot shares advice for how to handle the different kinds of early music performance situations in which singers might find themselves, as well as where to find workshops and performance opportunities. Equally helpful to the classically trained solo singer or amateur choral singer, So You Want to Sing Early Music will allow them to broaden their repertoire and build their stylistic toolbox. Additional chapters by Scott McCoy and Wendy LeBorgne address universal questions of voice science, pedagogy, and vocal health,. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Early Music features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.Trade ReviewTaking on the complex and often confusing subject of early music performance and practice, Martha Elliott has written an invaluable resource for singers, teachers, and coaches alike. This book is both a terminal resource and a jumping off place for continued exploration of this vast musical treasury. -- William Burden, voice faculty, Mannes College of Music and The Juilliard SchoolThis is an essential volume for singers, teachers, and even conductors of early music at any level. Packed with information, suggestions, resources, and illustrative examples—and invaluable bonus chapters—it clearly and comprehensively delineates the many musical and practical considerations this enticing repertoire compels us to make. -- Ryan Brandau, artistic director, Amor Artis, Princeton Pro Musica, and Monmouth Civic ChorusTable of ContentsChapter 1 – Historical Overview of the Repertoire Chapter 2 – Singing and Voice Science, Scott McCoy Chapter 3 – Vocal Health for the Early Music Singer, Wendy LeBorgne Chapter 4 – Grandfathers of Voice Pedagogy Chapter 5 – Elements of Baroque Style Chapter 6 – It’s All Chamber Music Chapter 7 – Know the Score Chapter 8 – Using All the Tools Appendix A – So You Want to Be a Consort Singer?, Gabriel Crouch Appendix B – Singing with Players, Mary Benton, Patricia Hlafter, Judith Klotz & Amy Warren Appendix C – Approximating the Past, Jamie Reuland

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Book SynopsisSince the publication of the first edition of A Spectrum of Voices there have been significant advances in voice studies. Prominent members of the new generation of voice teachers join their voices with now-canonized teachings. Asking questions about technology, pedagogy, and stylistic changes within the field, Elizabeth L. Blades brings the wisdom from the past and present to voice students at all levels. A Spectrum of Voices draws from the brilliance and combined experience of an elite group of exemplary voice teachers, presenting interviews from more than twenty-five notable teachers, six of them new to this second edition. Voice teachers offer valuable insight into their teaching philosophies, the types of auxiliary training they recommend to their students, and how they structure their lessons. This second edition also addresses significant technological advances of the past twenty years, especially the impact on vocal performance and pedagogy. A quick-and-handy reference for the studio teacher, this book also serves as a text for vocal pedagogy courses and as an essential supplement for physiology and vocal mechanics, teachers and students of singing, music educators, and musical theater performers.Trade ReviewA Spectrum of Voices gets young teachers-in-training thinking about what goes into becoming a good voice teacher. It is about so much more than merely knowing facts about anatomy or being able to demonstrate well for one’s students. This book is unique in how it brings together a diverse group of American teachers. -- John Nix, professor of voice and voice pedagogy, University of Texas at San AntonioThe second edition of A Spectrum of Voices is a time capsule of wisdom from legendary vocal pioneers and current day wisdom from exemplary voice teachers. This book is highly recommended as a text for vocal pedagogy students and as a reference and resource for experienced voice teachers. -- Cynthia Vaughn, founder, MagnoliaMusicStudio.com and coauthor of The Singing Book

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Book SynopsisSince the publication of the first edition of A Spectrum of Voices there have been significant advances in voice studies. Prominent members of the new generation of voice teachers join their voices with now-canonized teachings. Asking questions about technology, pedagogy, and stylistic changes within the field, Elizabeth L. Blades brings the wisdom from the past and present to voice students at all levels. A Spectrum of Voices draws from the brilliance and combined experience of an elite group of exemplary voice teachers, presenting interviews from more than twenty-five notable teachers, six of them new to this second edition. Voice teachers offer valuable insight into their teaching philosophies, the types of auxiliary training they recommend to their students, and how they structure their lessons. This second edition also addresses significant technological advances of the past twenty years, especially the impact on vocal performance and pedagogy. A quick-and-handy reference for the studio teacher, this book also serves as a text for vocal pedagogy courses and as an essential supplement for physiology and vocal mechanics, teachers and students of singing, music educators, and musical theater performers.Trade ReviewA Spectrum of Voices gets young teachers-in-training thinking about what goes into becoming a good voice teacher. It is about so much more than merely knowing facts about anatomy or being able to demonstrate well for one’s students. This book is unique in how it brings together a diverse group of American teachers. -- John Nix, professor of voice and voice pedagogy, University of Texas at San AntonioThe second edition of A Spectrum of Voices is a time capsule of wisdom from legendary vocal pioneers and current day wisdom from exemplary voice teachers. This book is highly recommended as a text for vocal pedagogy students and as a reference and resource for experienced voice teachers. -- Cynthia Vaughn, founder, MagnoliaMusicStudio.com and coauthor of The Singing Book

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Book SynopsisThis book teaches performers to use the Feldenkrais Method of neuromuscular activities to ameliorate problems of tension, muscle strain, and illness in order to obtain optimal vocal performance. Singing with Your Whole Self, Second Edition contains an important and unique modularized Feldenkrais “Awareness Through Movement” lessons specifically designed for liberating function in all musicians, and singers in particular. Modularized lessons allow the user to choose between functionally useful short segments or entire lessons. The first part of the book presents the theory behind why this approach works in an easily understood and concrete fashion. The remaining chapters explore our anatomy by area and explain usage, problems, and how these relate to singing. These chapters include lessons that revolve around improving performance. Includes an index both by lesson and by problem, referring performers to the lessons most effective for a specific problem.Trade ReviewThe second edition of Singing with Your Whole Self offers several elegant and effective updates. The ingenious presentation of Awareness Through Movement lessons in short modules is retained, and several new and imaginative lessons have been added. An exciting chapter on neuroplasticity and learning will help any singer harness this human superpower in service of beautiful and expressive singing. A resource to bring vocal pedagogy into the modern age! -- MaryBeth Davidson Smith, Guild Certified Feldenkrais Practitioner, The Feldenkrais Center of HoustonTable of ContentsChapter 1: Overview Chapter 2: Kinesthetic Imagination Chapter 3: Control and Letting Go Chapter 4: Neuroplasticity Chapter 5: Intentionality and Effort Chapter 6: The Base of Support Chapter 7: Pelvic Power Chapter 8: Breathing Chapter 9: Upper Trunk Flexibility Chapter 10: Shoulder Girdle and Arms Chapter 11: Head and Neck Chapter 12: Hands and Mouth Chapter 13: The Eyes Chapter 14: Pedagogical Uses for This Volume Appendix A: Functional Integration Appendix B: The Effects of Feldenkrais Work on the Singer's Voice As Documented By Spectrographic Analysis Appendix C

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Book SynopsisClassical singing requires the dedicated pursuit of vocal, musical, and dramatic prowess, as well as immersion in foreign language diction, performance practice, and ensemble skills. The multidisciplinary nature of singing makes it a deeply satisfying endeavor as well as an extremely demanding art form. The Singer’s Audition and Career Handbook is a comprehensive guide to the training, audition technique, and professional development essential for launching and sustaining a career in classical singing. The book expands and makes permanent author Claudia Friedlander’s development of an innovative online collaboration with mezzo-soprano Joyce DiDonato and The Weill Music Institute at Carnegie Hall. With interviews and contributions from nearly seventy prominent educators, performers, and opera industry professionals, Claudia Friedlander presents an invaluable guide that singer of every level will find themselves returning to year after year. Whether you are a young singer preparing conservatory auditions, a professional opera singer, or an avocational singer seeking to improve your technique and pursue local performance opportunities, this book will help you take inventory of your skills and begin the next stages of your vocal education and your musical journey.Trade ReviewWe need YOUR singular, authentic, unleashed voice in this mad world. This book is here to encourage you to find YOUR way, in YOUR time, with YOUR voice... and to make clear the practical path so you can walk it in all your unadulterated glory! (From the Foreword) -- Joyce DiDonato, multi Grammy Award-winning mezzo-sopranoClaudia Friedlander has created a relevant and comprehensive resource that provides helpful guidance to empower singers in the pursuit of the careers they create and envision for themselves today. A must-have resource for the library of every singer or teacher. -- Allen Henderson, executive director, National Association of Teachers of Singing; professor of voice, Georgia Southern UniversityI want to hand every aspiring singer this book. With a mass of information based on refined expertise and real-life experiences, this resource makes easier the daunting journey that singers embark upon when starting their career. This is exactly what the singing world of today needs. Brava! -- Lucas Meachem, Grammy Award-winning baritoneTable of ContentsForward by Joyce DiDonato Preface: Why Do You Sing? Acknowledgments Introduction: A Lifelong Journey PART ONE: Learning the Craft Chapter 1: The Complete Package Chapter 2: Training Programs Chapter 3: Technique Chapter 4: Musicianship Chapter 5: Languages and Diction Chapter 6: Dramatic Interpretation Chapter 7: Choosing Audition Repertoire Chapter 8: Audition Preparation, Technique and Etiquette Chapter 9: Performance Opportunities Chapter 10: Investing in Your Training PART TWO: The Apprenticeship Phase Chapter 11: Resident Artist Programs Chapter 12: Promotional Materials Chapter 13: Public Master Classes Chapter 14: Competitions Chapter 15: Keeping Afloat PART THREE: Going Pro Chapter 16: From Contract to Closing Night: The Opera Singer at Work Chapter 17: Crafting Your Public Persona Chapter 18: Management Chapter 19: Choose Your Own Adventure Chapter 20: Running Your Business Conclusion: A Lifetime of Song

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Book SynopsisClassical singing requires the dedicated pursuit of vocal, musical, and dramatic prowess, as well as immersion in foreign language diction, performance practice, and ensemble skills. The multidisciplinary nature of singing makes it a deeply satisfying endeavor as well as an extremely demanding art form. The Singer’s Audition and Career Handbook is a comprehensive guide to the training, audition technique, and professional development essential for launching and sustaining a career in classical singing. The book expands and makes permanent author Claudia Friedlander’s development of an innovative online collaboration with mezzo-soprano Joyce DiDonato and The Weill Music Institute at Carnegie Hall. With interviews and contributions from nearly seventy prominent educators, performers, and opera industry professionals, Claudia Friedlander presents an invaluable guide that singer of every level will find themselves returning to year after year. Whether you are a young singer preparing conservatory auditions, a professional opera singer, or an avocational singer seeking to improve your technique and pursue local performance opportunities, this book will help you take inventory of your skills and begin the next stages of your vocal education and your musical journey.Trade ReviewWe need YOUR singular, authentic, unleashed voice in this mad world. This book is here to encourage you to find YOUR way, in YOUR time, with YOUR voice... and to make clear the practical path so you can walk it in all your unadulterated glory! (From the Foreword) -- Joyce DiDonato, multi Grammy Award-winning mezzo-sopranoClaudia Friedlander has created a relevant and comprehensive resource that provides helpful guidance to empower singers in the pursuit of the careers they create and envision for themselves today. A must-have resource for the library of every singer or teacher. -- Allen Henderson, executive director, National Association of Teachers of Singing; professor of voice, Georgia Southern UniversityI want to hand every aspiring singer this book. With a mass of information based on refined expertise and real-life experiences, this resource makes easier the daunting journey that singers embark upon when starting their career. This is exactly what the singing world of today needs. Brava! -- Lucas Meachem, Grammy Award-winning baritoneTable of ContentsForward by Joyce DiDonato Preface: Why Do You Sing? Acknowledgments Introduction: A Lifelong Journey PART ONE: Learning the Craft Chapter 1: The Complete Package Chapter 2: Training Programs Chapter 3: Technique Chapter 4: Musicianship Chapter 5: Languages and Diction Chapter 6: Dramatic Interpretation Chapter 7: Choosing Audition Repertoire Chapter 8: Audition Preparation, Technique and Etiquette Chapter 9: Performance Opportunities Chapter 10: Investing in Your Training PART TWO: The Apprenticeship Phase Chapter 11: Resident Artist Programs Chapter 12: Promotional Materials Chapter 13: Public Master Classes Chapter 14: Competitions Chapter 15: Keeping Afloat PART THREE: Going Pro Chapter 16: From Contract to Closing Night: The Opera Singer at Work Chapter 17: Crafting Your Public Persona Chapter 18: Management Chapter 19: Choose Your Own Adventure Chapter 20: Running Your Business Conclusion: A Lifetime of Song

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Book SynopsisSo You Want to Sing CCM (Contemporary Commercial Music) presents a compendium of approaches to non-classical singing with an emphasis on vocal technique and function. Over the past twenty years, approaches to singing CCM have exploded, resulting in many schools of technique. So You Want to Sing CCM is the first book to bring these trademarked methods—such as Estill Voice Training™, Somatic Voicework™, Complete Vocal Technique™, Voiceworks™, and the Vocal Power Method™—together in a single volume. So You Want to Sing CCM opens the reader to the vast world of contemporary commercial music through the teachings of the world’s best-known practicing CCM pedagogues. Supplemental chapters by Matthew Edwards, Darren Wicks, and editor Matthew Hoch offer additional commentary on CCM history and pedagogy while chapters by Scott McCoy, Wendy LeBorgne, and Matthew Edwards investigate voice science, vocal health, and audio enhancement technology. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing CCM features online supplemental material. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resourcesTrade ReviewThis book is a testament to the pedagogues whose early work and ongoing efforts have made a lasting impact on voice teaching. . . . While every book in the So You Want to Sing series has made an important contribution to the available literature in vocal instruction, So You Want to Sing CCM may be the series most significant volume to date. Hoch is to be credited for compiling a volume that shares and compares information from so many of CCM’s most seminal figures. (Brian Manternach, Classical Singer) * Classical Singer Magazine *Step into the studios of twelve fantastic CCM pioneers for a revelation of the most current pedagogy: laryngeal level, resonance strategies, acoustics, vocal tract shape, registration, support, and vocal health. . . an inspiring breadth and depth of knowledge and experience. -- Karen Brunssen, NATS president-elect, Bienen School of Music, Northwestern UniversityVoice teachers and coaches –here is a ‘must’ for your bookshelf. This engaging history of CCM singing and its pedagogical development includes valuable advice and teaching philosophies from passionate, pioneering CCM instructors from around the globe. -- Linda J. Snyder, president, National Association of Teachers of Singing (2016-2018)Table of ContentsPart I – Contemporary Commercial Music: An Introduction Chapter 1: CCM Pedagogy: The Pioneering Generation, Matthew Hoch Chapter 2: CCM versus Music Theater: A Comparison, Matthew Edwards Chapter 3: Singing and Voice Science, Scott McCoy Chapter 4: Vocal Health and the CCM Singer, Wendy LeBorgne Chapter 5: Using Audio Enhancement Technology, Matthew Edwards Part II – Profiles of Twelve CCM Pedagogues Chapter 6: Katie Agresta, New York, New York Chapter 7: Irene Bartlett, Brisbane, Australia Chapter 8: Robert Edwin, Philadelphia, Pennsylvania Chapter 9: Elisabeth Howard, Chicago, Illinois Chapter 10: Joan Lader, New York, New York Chapter 11: Jeannette LoVetri, New York, New York Chapter 12: Mark Meylan, London, United Kingdom Chapter 13: Lisa Popeil, Los Angeles, California Chapter 14: David Sabella, New York, New York Chapter 15: Cathrine Sadolin, Copenhagen, Denmark Chapter 16: Mary Saunders Barton, State College, Pennsylvania Chapter 17: Daniel Zangger Borch, Stockholm, Sweden Part III – Contemporary Commercial Music: Past, Present, and Future Chapter 18: Effortless Singing: SLS™ and Its Influence, Darren Wicks Chapter 19: Why It’s Time to Add CCM to Your Studio, Matthew Edwards Chapter 20: The Future of CCM Pedagogy, Matthew Hoch

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Book SynopsisSo You Want to Sing Music by Women opens wide a vast repertoire of vocal music written by women to advocate for widespread inclusion of this too-often neglected work in performance repertoire. Hoch and Lister provide a historical and contemporary perspective, chronicling the Western art music canon while also addressing contemporary trends in music theater and CCM. In addition to providing a historical overview and social context in which women created music, this volume explores the music of hundreds of historical and contemporary women composers, such as Hildegard von Bingen, Clara Schumann, Lili Boulanger, Cathy Berberian, Erykah Badu, and Sara Bareilles. In addition to discussions of art song, opera, choral music, and avant garde/experimental music, Erin Guinup and Amanda Wansa Morgan also contribute chapters devoted to music theater, CCM, and advocacy for women composers. Interviews with high-profile composers including Lori Laitman, Rosephanye Powell, Meredith Monk, Georgia Stitt provide accounts from the frontlines of today’s composing world. Additional chapters by Scott McCoy and Wendy LeBorgne address vocal technique and health, and Matthew Edwards provides guidance for working with sound technology. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Music by Women features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.Trade ReviewSo You Want to Sing Music by Women is a great contribution to the advocacy effort for more inclusion of women composers in the performance canon. The book provides a great introduction and overview of women composers throughout history and inspires further exploration and action on the part of the reader. -- Julia Mortyakova, artistic director, Music by Women Festival at Mississippi University for WomenSo You Want to Sing Music by Women is a much-needed, broad-ranging study. This book will be invaluable in encouraging singers to perform the works of women composers. -- Rhian Samuel, composer and professor emeritus, City University, LondonI recommend this impressive volume to all singers who are interested in good music, especially the excellent music composed by women over the course of the past century. This is a golden age for women composers, and this invaluable book contains the latest information on a new generation of prizewinning composers for the enterprising singer. -- Jeremy Huw Williams, internationally acclaimed baritone and scholarSo You Want to Sing Music by Women is an essential, up-to-date, and easy-to-navigate resource for all musicians seeking to widen the scope of their programming. Passionate in their advocacy of the substantial contributions of woman composers, Hoch and Lister convincingly succeed in letting “fresh air” into the musical canon. -- Elizabeth Schulze, music director and conductor, Maryland Symphony OrchestraThe role and standing of women composers has been muted and diluted throughout the ages, and for many years it was assumed this would always be the case. Recent sea changes within and outside the musical community have made this muting untenable, and there is an ever-widening desire to incorporate the music of women composers into our modern repertoire. This strong and far-reaching book is a massively useful resource and should be seen as a required text for all that teach and conduct vocal music of any genre as well as those who wish to learn more about women composers and their music. -- Rob Deemer, founder and project director, Composer Diversity DatabaseTable of ContentsChapter 1 – Music by Women: A Brief History Chapter 2 – Women Composers: Historical and Contemporary Challenges Chapter 3 – Art Songs by Women Chapter 4 – Operas by Women Chapter 5 – Choral Music by Women Chapter 6 – Experimental Music and Extended Techniques Chapter 7 – Music Theater by Women, Erin Guinup Chapter 8 – CCM by Women, Amanda Wansa Morgan Chapter 9 – Singing and Voice Science, Scott McCoy Chapter 10 – Vocal Health for Singers, Wendy LeBorgne Chapter 11 – Using Audio Enhancement Technology, Matthew Edwards Chapter 12 – Advocacy for Women Composers, Erin Guinup Chapter 13 – Music by Women: The Future

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Book SynopsisSo You Want to Sing Music by Women opens wide a vast repertoire of vocal music written by women to advocate for widespread inclusion of this too-often neglected work in performance repertoire. Hoch and Lister provide a historical and contemporary perspective, chronicling the Western art music canon while also addressing contemporary trends in music theater and CCM. In addition to providing a historical overview and social context in which women created music, this volume explores the music of hundreds of historical and contemporary women composers, such as Hildegard von Bingen, Clara Schumann, Lili Boulanger, Cathy Berberian, Erykah Badu, and Sara Bareilles. In addition to discussions of art song, opera, choral music, and avant garde/experimental music, Erin Guinup and Amanda Wansa Morgan also contribute chapters devoted to music theater, CCM, and advocacy for women composers. Interviews with high-profile composers including Lori Laitman, Rosephanye Powell, Meredith Monk, Georgia Stitt provide accounts from the frontlines of today’s composing world. Additional chapters by Scott McCoy and Wendy LeBorgne address vocal technique and health, and Matthew Edwards provides guidance for working with sound technology. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing Music by Women features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.Trade ReviewSo You Want to Sing Music by Women is a great contribution to the advocacy effort for more inclusion of women composers in the performance canon. The book provides a great introduction and overview of women composers throughout history and inspires further exploration and action on the part of the reader. -- Julia Mortyakova, artistic director, Music by Women Festival at Mississippi University for WomenSo You Want to Sing Music by Women is a much-needed, broad-ranging study. This book will be invaluable in encouraging singers to perform the works of women composers. -- Rhian Samuel, composer and professor emeritus, City University, LondonI recommend this impressive volume to all singers who are interested in good music, especially the excellent music composed by women over the course of the past century. This is a golden age for women composers, and this invaluable book contains the latest information on a new generation of prizewinning composers for the enterprising singer. -- Jeremy Huw Williams, internationally acclaimed baritone and scholarSo You Want to Sing Music by Women is an essential, up-to-date, and easy-to-navigate resource for all musicians seeking to widen the scope of their programming. Passionate in their advocacy of the substantial contributions of woman composers, Hoch and Lister convincingly succeed in letting “fresh air” into the musical canon. -- Elizabeth Schulze, music director and conductor, Maryland Symphony OrchestraThe role and standing of women composers has been muted and diluted throughout the ages, and for many years it was assumed this would always be the case. Recent sea changes within and outside the musical community have made this muting untenable, and there is an ever-widening desire to incorporate the music of women composers into our modern repertoire. This strong and far-reaching book is a massively useful resource and should be seen as a required text for all that teach and conduct vocal music of any genre as well as those who wish to learn more about women composers and their music. -- Rob Deemer, founder and project director, Composer Diversity DatabaseTable of ContentsChapter 1 – Music by Women: A Brief History Chapter 2 – Women Composers: Historical and Contemporary Challenges Chapter 3 – Art Songs by Women Chapter 4 – Operas by Women Chapter 5 – Choral Music by Women Chapter 6 – Experimental Music and Extended Techniques Chapter 7 – Music Theater by Women, Erin Guinup Chapter 8 – CCM by Women, Amanda Wansa Morgan Chapter 9 – Singing and Voice Science, Scott McCoy Chapter 10 – Vocal Health for Singers, Wendy LeBorgne Chapter 11 – Using Audio Enhancement Technology, Matthew Edwards Chapter 12 – Advocacy for Women Composers, Erin Guinup Chapter 13 – Music by Women: The Future

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Book SynopsisSo You Want to Sing World Music explores vocal music from around the globe. Over the past several decades, world music styles have been making increasing inroads into Western popular music, music theater, choral concerts, and even concert hall performances. This book serves as a compendium of these genres while also offering technical approaches to singing non-Western styles. In this volume, Matthew Hoch gathers a cohort of expert performers and teachers to address singing styles from across the globe, including Tuvan throat singing, Celtic pop and traditional Irish singing, South African choral singing, Brazilian genres, North Indian classical singing, Native American vocal music, Mexican mariachi, Lithuanian Sutartinės, Georgian polyphony, Egyptian vocal music, Persian avaz, and Peking opera. Additional chapters offer resources for soloists and choral directors as well as primers on voice science, vocal health, and audio enhancement technology. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing the World Music features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.Trade ReviewThis star cast of writers presents an engaging catalyst to spark further discussion. Our K-12 choral directors are way ahead of most of many voice teachers in the inclusion of world music, and I hope we soon follow their example. -- Martha Randall, University of Maryland, president, American Academy of Teachers of SingingThis colorful compendium pays tribute to a grand variety of the world’s brilliant vocal practices. So You Want to Sing World Music will entice readers to seek out the recordings of notable singers even as they read about their song styles. Singers and song-lovers alike will find the volume to be a captivating read. -- Patricia Shehan Campbell, Donald E. Peterson Professor of Music, University of WashingtonTable of ContentsPart I – World Vocal Styles: An Introduction Chapter 1: Singing the Music of the World, Matthew Hoch Chapter 2: Singing and Voice Science, Scott McCoy Chapter 3: Vocal Health and the World Music Singer, Wendy LeBorgne Chapter 4: Using Audio Enhancement Technology, Matthew Edwards Part II – The Americas Chapter 5: Native American Vocal Music: Tohono O’odham Songs, Erin E. Bauer Chapter 6: Mexico’s Mariachi Vocal Tradition, Juanita Ulloa Chapter 7: Popular Music in Brazil: Bossa Nova and Other Genres, Suely Mesquita & Christina Howell Part III – Europe Chapter 8: Irish Traditional Song: Style, Practice, Context, Sandra Joyce & Éamonn Costello Chapter 9: Celtic and Celtic Pop, Elizabeth L. Blades Chapter 10: Exploring and Performing Lithuanian Sutartinės, Sarah J. Bartolome Chapter 11: Exploring Folk Polyphony through Georgian Songs, Matthew E. Knight Part IV – The Middle East Chapter 12: Egyptian Vocal Music, Laura Lohman Chapter 13: Avaz: The Art of Persian Traditional Singing, Behzad Namazi Part V – Africa Chapter 14: Choral Singing in South Africa, Michael Barrett Chapter 15: Istibili: Singing and Learning South African Folk Song, Sarah-Jane Gibson Part V – Asia Chapter 16: An Introduction to Hindustani Vocal Music, Marged Trumper Chapter 17: Peking Opera, Po-wei Weng Part VI – Integrating World Music Traditions Chapter 18: Overtone Singing around the Globe, Rollin Rachele Chapter 19: World Music in a Choral Setting, Stefanie Cash Chapter 20: Traditional Arabic Music and the Western Song Recital, Feryal Qudourah Chapter 21: Vocal Versatility in Bel Canto Style, Ethan Sperry & Mary Goetze Chapter 22: Musical Rhythms to Learn, Love, and Share, Patricia Shehan Campbell Chapter 23: Voice Pedagogy: Imagining a Global Future, Matthew Hoch

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Book SynopsisCabaret performances are often known for bringing alive the Great American Songbook from the 1920s through the 1950s for contemporary audiences. But modern-day cabaret does much more than preserve the past—it also promotes and fosters the new generation of American composers and creates a uniquely vibrant musical and theatrical experience for its audiences. So You Want to Sing Cabaret is the first book of its kind to examine in detail the unique vocal and nonvocal requirements for professional performance within the exciting genre of cabaret. With a foreword by cabaret legend Lorna Luft, So You Want to Sing Cabaret includes interviews from the top professionals in the cabaret industry, including Michael Feinstein, Ann Hampton Callaway, Roy Sander, Sidney Myer, Jeff Harner and many others. There are also chapters devoted to crafting your show, lyric connection, “do-it-yourself” production and promotion, and working with your musical team. David Sabella and Sue Matsuki have crafted the perfect one-volume resource for both the aspiring cabaret singer and the singing teacher who seeks to learn more about this unique art form.The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing World Music features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.Table of ContentsChapter 1 - Cabaret: Historical BackgroundAn overview and history of the cabaret rooms of Europe in the 19th andearly 20th centuries.Chapter 2 – Modern Day Cabaret: 20th -21st CenturyCrossing the Pond – The early proponents in the U.S. (such as MabelMercer) of modern day cabaret and their impact on American popularsingers of the 20th century (Frank Sinatra, Judy Garland).•⊂ What has cabaret come to be known as in the last 40 years?•⊂ Who are the major performers today and what makes them“cabaret singers”?•⊂ How does cabaret performance differ from other live vocalperformance shows?Chapter 3 – Cabaret Training: What it is and why it is neededTraining programs – what they offer to singers and why training in the artof cabaret performance is important.What a singer should look for in a cabaret training program.Chapter 4 – Cabaret and the Musical Theater SingerThe chapter addresses the training and perspective of a musical theaterperformer and what parts are or are not applicable to cabaret. Examplesof Issues addressed are:•⊂ The elimination of the “4th wall”•⊂ Being yourself vs. Being a character•⊂ The relationship a musical theater performer has to the audience vs.the relationship the cabaret singer has to the audience.So You Want to Sing Cabaret - Tim Schall, ProposalChapter Descriptions•⊂ What habits (good or bad) do musical theater singers develop thathelps/hinders them transition into working in cabaret.Chapter 5- Cabaret and the Classical SingerThe chapter addresses the training and perspective of a classically trained“legit” singer and how that training/perspective is adapted to cabaret.Examples of Issues include:•⊂ Taking the focus off of your voice•⊂ Putting the focus on the lyric•⊂ Trusting your body•⊂ Being “natural”Chapter 6 – Cabaret and the Pop SingerThe chapter addresses the training and perspective of a pop singer andhow that training/perspective is adapted to cabaret. Examples include:•⊂ Where are you creative objectives as a pop singer and where arethey as a cabaret performer?•⊂ Riffing: To riff or not to riff? What is its purpose in pop singing andwhat is it, if any, in cabaret performance?•⊂ Making a recording vs. performing a song live•⊂ Transitioning from a “sound machine” to a live human being withsomething to share/say.•⊂ The jazz singer: how cabaret work can help them relate moredirectly to their audience and add an extra dimension to theirperformances.Chapter 7 – It’s About The Lyrics (newly added)Cabaret is a lyric driven art form. This chapter explores why a singershould consider the lyrics first when choosing a song. The challenges ofdifferent genres of lyrics and how they are best adapted and used in acabaret setting are explored:•⊂ Great American songbook lyricists•⊂ Musical Theater lyricists (many times, the same as the above)So You Want to Sing Cabaret - Tim Schall, ProposalChapter Descriptions•⊂ Pop lyrics – the challenge to make these dramatically playableChapter 8 (newly added) – Working With Your Music DirectorNote: This chapter could potentially be divided into two chapters:1) Working with a Musical Director/Pianist and 2) Creating Arrangements.One of the most important relationships in the singer’s development as acabaret performer is with their musical director/pianist. This chapterdiscusses:•⊂ The criteria you should look for in a musical director – skill sets,willingness to collaborate, area of musically expertise.•⊂ Communicating with the musical director/pianist in light of howmuch musicianship skills and language a singer has or does nothave.•⊂ Creating arrangements – why this is vital and how to participate inthe process even though you are may not be the musician in theroom.Chapter 9 – Putting it Together/Creating an ActNote: This chapter could also become two chapters, because it is loadedwith important information.Creating an Act or Show is often a very daunting project for singers. Liveperformers from pop/rock singers and nightclub singers to classicalsingers in recitals have struggled with putting together cohesiveprogramming that flows with a beginning, middle and end. Topicsdiscussed include song choices, song types and song order. We explorethe purpose of an opening number, the purpose of a closing number, the11 O’clock number, the encore and different types of ballads.Patter, or stage dialogue, is also explored. Patter is a craft in and of itselfand can often either be too stiff or too sloppy. It has tremendous impacton the show, yet should seem as if it is spontaneous and natural – butSo You Want to Sing Cabaret - Tim Schall, ProposalChapter Descriptionsshould be planned out.Working with a director is explored. What is a director’s role in thecreation and performance of a cabaret show? What service does thedirector provide for the singer?Chapter 10 – Cabaret As A Means In ItselfCabaret performance is a specific art from in itself. Many singers chooseto focus their performance work solely in this area. This chapter discussesthe path of the singer focusing on cabaret:•⊂ U.S. cities that have cabaret communities.•⊂ What expectations can be met career-wise and artistically.•⊂ When is this the right choice for a singer.•⊂ How to market yourself•⊂ Working in clubs – agreements, light/sound, promotions•⊂ Recording content, demos, websites and self marketing.Chapter 11– Cabaret Training As A ToolCabaret is also occasionally taught in university musical theater trainingprogram. This chapter explores how the personalization of material canhelp musical theater performers, non-singing actors and classical singersin their performing and auditioning – whether they choose to pursuecabaret work or not.Chapter 12 - Closing Thoughts•⊂ An overview of the national cabaret landscape. Specific cities andwhat is their cabaret scene like?•⊂ Advocating for the art form. Why does it need preserving and howto preserve it.•⊂ Educating and informing future generations.

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Book SynopsisYoga, Alexander Technique, Feldenkrais Method, Pilates, Body Mapping… These techniques all promote optimum vocal performance through mind-body awareness, but where should a singer begin? So You Want to Sing with Awareness welcomes singers into all of these methods, allowing them to explore each option’s history and application to singing and determine which methods may best meet their needs as performers. With this unique volume in the So You Want to Sing series, editor Matthew Hoch brings together renowned expert practitioners to explore mind-body awareness systems and introduce cutting-edge research in cognitive neuroscience and motor learning. Carefully curated for singers’ unique needs, the book also includes essential discussions of anatomy and physiology and vocal health. The So You Want to Sing series is produced in partnership with the National Association of Teachers of Singing. Like all books in the series, So You Want to Sing with Awareness features online supplemental material on the NATS website. Please visit www.nats.org to access style-specific exercises, audio and video files, and additional resources.Table of ContentsExecutive Editor’s Foreword, Allen Henderson Foreword, Ann Baltz Acknowledgments Introduction, Matthew Hoch Chapter 1 – Alexander Technique, Larry Lee Hensel Chapter 2 – The Feldenkrais Method, Elizabeth L. Blades Chapter 3 – Yoga for Singers, Linda Lister Chapter 4 – Pilates and the Singing Actor, Joan Melton Chapter 5 – Body Mapping, Jan Prokop Chapter 6 – The CoreSinging Approach, Meribeth Dayme Chapter 7 – Meditation, Michelle DeBruyn Chapter 8 – An Introduction to Tomatis Listening, Susan Hurley Chapter 9 – Awareness and Optimal Performance: Cognitive Neuroscience for Singers, Karen Leigh-Post Chapter 10 – How Learning Works: An Introduction to Motor Learning Theory, Lynn Helding Chapter 11 – Singing and Voice Science, Scott McCoy Chapter 12 – Vocal Health for Singers, Wendy LeBorgne Chapter 13 – Awareness and Singing: Toward a Holistic Approach, Matthew Hoch

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