Singing: techniques Books

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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Book SynopsisTish Oney merges the worlds of jazz and classical singing in a comprehensive guide for those teaching and singing jazz. Legendary jazz singers? performance strategies are discussed providing unique insights. Jazz Singing combines jazz stylization and improvisational techniques with classic voice pedagogy to outline a method that builds the jazz voice upon a strong foundation of proper alignment, efficient breathing, healthy phonation, a clear understanding of vocal anatomy, and the physics of singing. Various strategies to enhance improvisation and artistry are presented, and mindful coordination of all aspects is emphasized to create authentic, healthy jazz singing in this groundbreaking book.

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Book SynopsisTish Oney merges the worlds of jazz and classical singing in a complementary pedagogy guide for those teaching jazz singing. The book combines jazz voice stylization techniques and various improvisational approaches with classic voice pedagogy to outline a method that builds the jazz voice upon a strong foundation of proper alignment, classic breathing technique, healthy phonation, a clear understanding of vocal anatomy and the physics of singing. Various methods to enhance improvisation will be presented, and mindful coordination of all aspects will be emphasized to create authentic, healthy jazz singing. Throughout the book, legendary jazz singers' approaches and techniques will be described to illustrate the various approaches available to jazz singers.

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Book SynopsisWith Chinese art forms gaining notoriety worldwide, it is only natural for there to be an uptick in interest in Chinese classical music. The expanding market in Chinese classical music, as well as the growing fame of Chinese composers, pave way for a new lucrative career in Mandarin-language vocalism. Singing in Mandarin: A Guide to Chinese Lyric Diction is a comprehensive guide to mastering vocal repertoire in Mandarin. In part one, Katherine Chu and Juliet Petrus focus on diction and language, providing detailed descriptions on how to create the exact sounds and pronunciations through International Phonetic Alphabet (IPA) and ‘Pinyin’. Part two outlines the historical context of Mandarin vocal tradition, chronicling the development of the language and Chinese vocal repertoire over the last 100 years. Audio files narrated by native speakers demonstrating the sounds are also included.Singing in Mandarin provides guidance for both novices and those with previous experience singing or speaking in Mandarin and is the first book of its kind to help bring the rich, previously inaccessible heritage of Chinese vocal music to Western audiences.Trade ReviewI am thrilled to see this comprehensive guide available! Juliet Petrus and Katherine Chu have opened the door for English-speaking singers, their pianists, and their coaches to finally feel comfortable in approaching repertoire in this wonderful language. They present all the essentials with the utmost clarity, and it includes recorded examples. This is an important contribution to exploring this fascinating trove of vocal music. -- Martin Katz, international collaborative pianist and vocal coachTable of ContentsPart 1: The Fundamentals of Chinese DictionChapter 1: ConsonantsBeginning with consonants and progressing from familiar to unfamiliar sounds, this chapter usescomparative diction study to illustrate the differences and commonalities of Chinese diction toother, more familiar dictions. Unless readers can already recognize and pronounce Chinesecharacters, Pinyin will be a necessary step in transliterating, as currently it is the most commonmethod. Being that the International Phonetic Alphabet (IPA) is a standard method of identifyingphonemes, the book employs IPA to explain the Pinyin. Even in this early stage of Mandarinknowledge, by establishing the important connection between IPA and Pinyin, some studentsmay comfortably continue to use the IPA system, while others may eventually progress to usingonly Pinyin as their form of transliteration. In addition to being able to hear all of the soundspronounced by native speakers on the CD, there will be diagrams of tongue position,descriptions of how to physically create them, as well as exercises to help the readers acclimatethemselves to Chinese pronunciation.Chapter 2: VowelsContinuing the systematic approach from Chapter 1, this chapter thoroughly examines all thecategories including vowels, vowel clusters and vowel-consonant combination, many of whichare unique to the study of Chinese diction. It discusses the important subtleties which cannot becompared to any other type of lyric diction. The very last section will address the effect thatcertain groups of consonants and semi-vowels have on vowels and vowel clusters that followthem.Chapter 3: Chinese Semantics, Syntax and StressOnce the Chinese diction system is presented and explained in the most scientific mannerpossible, attention can be turned to important properties that characterize this language. EachChinese character is a monosyllable with a stand-alone meaning. Words in Chinese can bemade up of multiple syllables. Like in English, correct stress while singing in Mandarin isessential for comprehension of the lyrics, not only because the tonal aspect of the language iscompletely lost in music, but also because the musical stress begins to superimpose on thephrasal stress. This chapter examines how proper stress and inflection restore the syntactic andsemantic features of the Chinese language.Chapter 4: Stylistic ConcernsThe final chapter of Part 1 will be an overview of stylistic issues unique to Chinese diction, such other lyric dictions such as the peculiar and regional property of the final R, and the ‘rounding offof a syllable’ and its effect on legato. There will be also an examination of widely spokendialects such as Cantonese and Taiwanese, and regional accents. These are stylistic elementsthat can transform mere diction into artistry, as they give nuance to interpretation.-----------------------------------------Part 2: Chinese Vocal RepertoireChapter 5: Overview of Modern Chinese Vocal LiteratureWith vocal traditions such as Peking and Kunqu Operas, Chinese vocal music spans centuriesin Chinese history. Despite this long and rich tradition, the body of work that is applicable toclassically-trained, lyric singers began emerging in the early 1900s. Modern Chinese vocalmusic mirrors the course of contemporary Chinese history, reflecting political milieu, motivatingnew genres, revolutionizing the language, and assimilating Western influences, which impactedthe stylistic development of vocal literature. The subsequent chapters are the examination of thetypes of repertoire developed from the last century to the present.Chapter 6: Modern Chinese Song RepertoireWhat can be identified as modern repertoire started in the decade after the Revolution of 1911.Art songs and folk song arrangements make up a significant part of the type of music accessibleto the classically-trained singer. However, songs with a popular influence and vocal chambermusic also make their way to the contemporary recital hall. This chapter will survey these works,as well as giving Pinyin and IPA for the most significant pieces. Composers represented willinclude the earliest pioneers such as HUANG Zi, QING Zhu, XIAO Youmei, and ZHAO Yuanren,as well as modern disciples such as CHEN Yi, LU Zaiyi, and composers from Hong Kong andTaiwan, illustrating their place and contributions to Chinese Art Song, the definition of whichleads to many fascinating questions and lively debates.Chapter 7: Concert and Opera RepertoireConcert pieces for voice with orchestra and modern opera represent a recent phenomenon inChinese compositional history. From the very earliest of cantatas to the first Chinese opera inthe 1930’s, the variety of genres fashioned in the Western compositional models in the last twodecades is well evidenced by the remarkable output from composers, both Western-trained andhome-grown. Encouraged by the growing number of theaters built and productions staged inChina, opera is proving to be the epitome of creative expression, attracting many composers toturn their attention to writing for this multidisciplinary art form. Composers such as CHENQigang, CHOU Wen-chung, GUO Wenjing, Bright Sheng, TAN Dun, YE Xiaogang and ZHOULong, help to push these genres forward.

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Book SynopsisWith Chinese art forms gaining notoriety worldwide, it is only natural for there to be an uptick in interest in Chinese classical music. The expanding market in Chinese classical music, as well as the growing fame of Chinese composers, pave way for a new lucrative career in Mandarin-language vocalism. Singing in Mandarin: A Guide to Chinese Lyric Diction is a comprehensive guide to mastering vocal repertoire in Mandarin. In part one, Katherine Chu and Juliet Petrus focus on diction and language, providing detailed descriptions on how to create the exact sounds and pronunciations through International Phonetic Alphabet (IPA) and ‘Pinyin’. Part two outlines the historical context of Mandarin vocal tradition, chronicling the development of the language and Chinese vocal repertoire over the last 100 years. Audio files narrated by native speakers demonstrating the sounds are also included.Singing in Mandarin provides guidance for both novices and those with previous experience singing or speaking in Mandarin and is the first book of its kind to help bring the rich, previously inaccessible heritage of Chinese vocal music to Western audiences.Trade ReviewI am thrilled to see this comprehensive guide available! Juliet Petrus and Katherine Chu have opened the door for English-speaking singers, their pianists, and their coaches to finally feel comfortable in approaching repertoire in this wonderful language. They present all the essentials with the utmost clarity, and it includes recorded examples. This is an important contribution to exploring this fascinating trove of vocal music. -- Martin Katz, international collaborative pianist and vocal coachTable of ContentsPart 1: The Fundamentals of Chinese DictionChapter 1: ConsonantsBeginning with consonants and progressing from familiar to unfamiliar sounds, this chapter usescomparative diction study to illustrate the differences and commonalities of Chinese diction toother, more familiar dictions. Unless readers can already recognize and pronounce Chinesecharacters, Pinyin will be a necessary step in transliterating, as currently it is the most commonmethod. Being that the International Phonetic Alphabet (IPA) is a standard method of identifyingphonemes, the book employs IPA to explain the Pinyin. Even in this early stage of Mandarinknowledge, by establishing the important connection between IPA and Pinyin, some studentsmay comfortably continue to use the IPA system, while others may eventually progress to usingonly Pinyin as their form of transliteration. In addition to being able to hear all of the soundspronounced by native speakers on the CD, there will be diagrams of tongue position,descriptions of how to physically create them, as well as exercises to help the readers acclimatethemselves to Chinese pronunciation.Chapter 2: VowelsContinuing the systematic approach from Chapter 1, this chapter thoroughly examines all thecategories including vowels, vowel clusters and vowel-consonant combination, many of whichare unique to the study of Chinese diction. It discusses the important subtleties which cannot becompared to any other type of lyric diction. The very last section will address the effect thatcertain groups of consonants and semi-vowels have on vowels and vowel clusters that followthem.Chapter 3: Chinese Semantics, Syntax and StressOnce the Chinese diction system is presented and explained in the most scientific mannerpossible, attention can be turned to important properties that characterize this language. EachChinese character is a monosyllable with a stand-alone meaning. Words in Chinese can bemade up of multiple syllables. Like in English, correct stress while singing in Mandarin isessential for comprehension of the lyrics, not only because the tonal aspect of the language iscompletely lost in music, but also because the musical stress begins to superimpose on thephrasal stress. This chapter examines how proper stress and inflection restore the syntactic andsemantic features of the Chinese language.Chapter 4: Stylistic ConcernsThe final chapter of Part 1 will be an overview of stylistic issues unique to Chinese diction, such other lyric dictions such as the peculiar and regional property of the final R, and the ‘rounding offof a syllable’ and its effect on legato. There will be also an examination of widely spokendialects such as Cantonese and Taiwanese, and regional accents. These are stylistic elementsthat can transform mere diction into artistry, as they give nuance to interpretation.-----------------------------------------Part 2: Chinese Vocal RepertoireChapter 5: Overview of Modern Chinese Vocal LiteratureWith vocal traditions such as Peking and Kunqu Operas, Chinese vocal music spans centuriesin Chinese history. Despite this long and rich tradition, the body of work that is applicable toclassically-trained, lyric singers began emerging in the early 1900s. Modern Chinese vocalmusic mirrors the course of contemporary Chinese history, reflecting political milieu, motivatingnew genres, revolutionizing the language, and assimilating Western influences, which impactedthe stylistic development of vocal literature. The subsequent chapters are the examination of thetypes of repertoire developed from the last century to the present.Chapter 6: Modern Chinese Song RepertoireWhat can be identified as modern repertoire started in the decade after the Revolution of 1911.Art songs and folk song arrangements make up a significant part of the type of music accessibleto the classically-trained singer. However, songs with a popular influence and vocal chambermusic also make their way to the contemporary recital hall. This chapter will survey these works,as well as giving Pinyin and IPA for the most significant pieces. Composers represented willinclude the earliest pioneers such as HUANG Zi, QING Zhu, XIAO Youmei, and ZHAO Yuanren,as well as modern disciples such as CHEN Yi, LU Zaiyi, and composers from Hong Kong andTaiwan, illustrating their place and contributions to Chinese Art Song, the definition of whichleads to many fascinating questions and lively debates.Chapter 7: Concert and Opera RepertoireConcert pieces for voice with orchestra and modern opera represent a recent phenomenon inChinese compositional history. From the very earliest of cantatas to the first Chinese opera inthe 1930’s, the variety of genres fashioned in the Western compositional models in the last twodecades is well evidenced by the remarkable output from composers, both Western-trained andhome-grown. Encouraged by the growing number of theaters built and productions staged inChina, opera is proving to be the epitome of creative expression, attracting many composers toturn their attention to writing for this multidisciplinary art form. Composers such as CHENQigang, CHOU Wen-chung, GUO Wenjing, Bright Sheng, TAN Dun, YE Xiaogang and ZHOULong, help to push these genres forward.

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Book SynopsisThis book will help singers develop an inquisitive and analytical mindset about the artistic details found in the scores being studied. Neal Goren helps singers feel musically empowered to make and discuss their own valid artistic choices, deriving greater satisfaction from their performances while making themselves more employable.

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Book SynopsisOver the last decade, musical theatre has become part of mainstream American culture. From television shows like Glee and Smash, to the cultural phenomenon of the Broadway show Hamilton, musical theatre has never been more popular. Singers of all ages and backgrounds are drawn to the artform.In So You Want to Sing Musical Theatre, Updated and Expanded Edition, Broadway vocal coach, voice teacher, and voice researcher Amanda Flynn provides the skills singers need to successfully sing musical theatre repertoire. Including a foreword by George Salazar, the book is updated for musical theatre performance in the current era, covering a broader array of topics with deeper discussion than the original edition: musical theatre history a basic understanding of singing voice science vocal health as it pertains to the grueling demands of musical theatre musical genres seen and heard in musical theatre productions vocal production of various musical theatre sounds musical theatre repertoire, including how to find repertoire and developmental concerns acting, dancing, and other movement for singers of musical theatre working with kids in musical theatre productions auditioning for musical theatre at all levels profiles of Broadway singers, exploring their training, their methods of vocal upkeep, and their advice for aspiring musical theatre singers. 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 Musical Theatre, Revised and Expanded Edition 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 ContentsList of Figures and TablesSeries Editor’s Foreword (Matthew Hoch)Foreword (George Salazar)AcknowledgmentsOnline Supplement NoteChapter 1 – Musical Theatre History: A Brief OverviewChapter 2 – Musical GenresChapter 3 – Singing and Voice Science, Scott McCoyChapter 4 – Vocal Health for Singers, Wendy LeBorgneChapter 5 – Using Audio Enhancement Technology, Matthew EdwardsChapter 6 – How Learning Works: An Introduction to Motor Learning Theory, Lynn HeldingChapter 7 – Musical Theatre Vocal PedagogyChapter 8 – Musical Theatre Developmental RepertoireChapter 9 – The Musical Theatre ActorChapter 10 – The Musical Theatre AthleteChapter 11 – Young Musical Theatre PerformersChapter 12 – Musical Theatre AuditionsChapter 13 – Musical Theatre ProfilesGlossaryIndexAbout the Editor and Contributors

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Book SynopsisThe Essentials of CoreSinging: A Joyful Approach to Singing and Voice Pedagogy presents a unique and innovative outlook by Meribeth Dayme, one of the most important voice pedagogues in modern times. CoreSinging offers a universal approach to singing applicable to any style or level of singing and performance, designed to function as an adjunct or supplement rather than replacement to any other system of singing. The ultimate result transforms fear of singing into joy and ease.CoreSinging is formed on five elements: energy, awareness, imagination, practice, and performance. Each of these elements is present in all stages and levels of singing from beginner to professional. Concepts of energyphysical, metaphysical, mental, emotional, psychological, psychic, and spiritualhelp singers transform themselves, their sound, and their performance into an experience of healing for both singer and audience.For the first time, Cynthia Vaughan and Matthew Hoch have compiled and edited this culminating work of Meribeth Dayme. Each chapter systematically presents an essential aspect, complete with exercises to practice and apply to studio and group teaching settings. Additionally, contributors offer targeted strategies through specific case studies for further implementation of CoreSinging principles into one's practice. Appendices also include other select writings of Dayme.

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Book SynopsisTable of ContentsList of Figures and TablesPreface. Locating MyselfChapter 1. Understanding Gender in Teaching and LearningChapter 2. Shifting Perspective: Theoretical Framework & MethodologyChapter 3. Trans Feminine SingersChapter 4. Trans Masculine SingersChapter 5. Trans-Nonbinary SingersChapter 6. Pedagogical Considerations for Gender-Affirming Vocal Music EducationChapter 7. Queering as a Teacher’s Habit of MindAppendix 1. Glossary of LGBTQ+ TermsAppendix 2. Short List of Songs Written for TGQ Singers or by TGQ ComposersAppendix 3. Musicals & Opera Featuring Gender Expansive CharactersAppendix 4. Gender-Neutral Performance Attire GuidelinesAppendix 5. Sample Affirmation Policy Statement for Studio Teachers and Choral DirectorsAppendix 6. Additional Resources Selected BibliographyAbout the Author

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Book SynopsisTable of ContentsList of Figures and TablesPreface. Locating MyselfChapter 1. Understanding Gender in Teaching and LearningChapter 2. Shifting Perspective: Theoretical Framework & MethodologyChapter 3. Trans Feminine SingersChapter 4. Trans Masculine SingersChapter 5. Trans-Nonbinary SingersChapter 6. Pedagogical Considerations for Gender-Affirming Vocal Music EducationChapter 7. Queering as a Teacher’s Habit of MindAppendix 1. Glossary of LGBTQ+ TermsAppendix 2. Short List of Songs Written for TGQ Singers or by TGQ ComposersAppendix 3. Musicals & Opera Featuring Gender Expansive CharactersAppendix 4. Gender-Neutral Performance Attire GuidelinesAppendix 5. Sample Affirmation Policy Statement for Studio Teachers and Choral DirectorsAppendix 6. Additional Resources Selected BibliographyAbout the Author

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Book SynopsisIn this present age, aspiring performers, musical artists, and singers of all kinds engage with hip hop and hip-hop stylizations. Turn on the radio today and you will hear music from the likes of Bruno Mars, Miley Cyrus, and Billie Eilish—songs you might place into the generalized category of "pop singers." However, many top 40 pop tunes of today derive their musicality, style, and sound from hip hop, often employing hip-hop stylized vocalizations. This is even the case with contemporary musicals like Hamilton and In the Heights. In Hip-Hop and Rap Music: A Performer’s Guide, Melissa Foster equips aspiring performers, musical artists, singers, and hobbyists with the tools and knowledge needed to appreciate the rich art form and perform it with genuine authenticity and fluency.Part 1 provides a rich tapestry of important considerations for performers, including the development of hip hop; a roadmap to different styles; a brief introduction to the political, social, and racial context of hip-hop’s emergence; and an investigation of hip hop’s vast influence on contemporary music. Each performer must find an authentic, holistic way into the stylisms, physicality, parlance, and sound of hip hop that will resonate with both their lived experience and their bearing, and understanding hip hop’s rich background is a vital first step towards this.Part 2 presents a wealth of practical exercises and techniques designed to condition a performer to meet hip hop’s technical demands and facilitate hip-hop performance stylisms. This section delves into vocal techniques to address such building blocks as inhalation, breath management, articulation, movement and grounding, rhythmic control and ownership (including an in-depth look into finding the ‘pocket’ which is crucial to hip hop), pitch, resonance, storytelling, riffing (in both a musical and holistic approach), vocal health, and microphone techniques. Part 2 will also include interviews and tips from various hip-hop artists and industry professionals which will bring to life and reinforce the challenging nature of the form’s requisite skills. Hip-Hop and Rap Music: A Performer’s Guide will equip performers with the tools and knowledge vital to approaching authentic and masterful performances of hip hop.

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Book SynopsisIn this present age, aspiring performers, musical artists, and singers of all kinds engage with hip hop and hip-hop stylizations. Turn on the radio today and you will hear music from the likes of Bruno Mars, Miley Cyrus, and Billie Eilish—songs you might place into the generalized category of "pop singers." However, many top 40 pop tunes of today derive their musicality, style, and sound from hip hop, often employing hip-hop stylized vocalizations. This is even the case with contemporary musicals like Hamilton and In the Heights. In Hip-Hop and Rap Music: A Performer’s Guide, Melissa Foster equips aspiring performers, musical artists, singers, and hobbyists with the tools and knowledge needed to appreciate the rich art form and perform it with genuine authenticity and fluency.Part 1 provides a rich tapestry of important considerations for performers, including the development of hip hop; a roadmap to different styles; a brief introduction to the political, social, and racial context of hip-hop’s emergence; and an investigation of hip hop’s vast influence on contemporary music. Each performer must find an authentic, holistic way into the stylisms, physicality, parlance, and sound of hip hop that will resonate with both their lived experience and their bearing, and understanding hip hop’s rich background is a vital first step towards this.Part 2 presents a wealth of practical exercises and techniques designed to condition a performer to meet hip hop’s technical demands and facilitate hip-hop performance stylisms. This section delves into vocal techniques to address such building blocks as inhalation, breath management, articulation, movement and grounding, rhythmic control and ownership (including an in-depth look into finding the ‘pocket’ which is crucial to hip hop), pitch, resonance, storytelling, riffing (in both a musical and holistic approach), vocal health, and microphone techniques. Part 2 will also include interviews and tips from various hip-hop artists and industry professionals which will bring to life and reinforce the challenging nature of the form’s requisite skills. Hip-Hop and Rap Music: A Performer’s Guide will equip performers with the tools and knowledge vital to approaching authentic and masterful performances of hip hop.

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Book SynopsisNever has there been a more urgent time to foster cultural humility, diversity, and community dialogue while addressing systemically exclusionary teaching practices in vocal music. Singing Down the Barriers offers readers from all ethnic backgrounds a space in which to better understand the historical and cultural barriers to researching, programming, and performing repertoire by composers from the African diaspora. Emery Stephens and Caroline Helton present a pedagogical guide for singers, singing teachers, students, and administrators that will assist not only with programming but also in creating sustainable, brave spaces for critical conversations on race, equity, and American music. The book is divided into three parts: Part one presents historical context for African American song from the 19th century to the 21st century. Part two examines the culture of academic institutions and provides a framework for positive change. Part three provides strategies to foster integrated communities that can explore this repertoire with respect and mutual support as well as ways to incorporate Afrocentric music into the canon. This book is a seminal resource for higher education, community music programs, private studios, and beyond, and will help support DEI initiatives for vocal music programs.Table of ContentsList of FiguresPrefaceIntroduction: What is the “Singing Down the Barriers” Project? Section I: Historical Foundations and ContextChapter 1: American Music in the 19th Century through an Inclusive LensChapter 2: The Early Twentieth Century: Race, Music, Popular Culture and the Harlem RenaissanceChapter 3: Post-War, the Civil Rights Era, and BeyondSection II. Institutional InterventionsChapter 4: The Academy as an Agent of Restorative Justice through Pedagogy, Performance, Research, and Community EngagementChapter 5: Influence and Inspiration: Understanding Context and Cultural Influences in Classical American Vocal MusicChapter 6: Centering the African American Experience: Spirituals and Non-classical Genres in the Voice StudioSection III: Strategies for Creating Community and Building Music EcosystemsChapter 7: Allyship, Permission, and Informed Performance PracticeChapter 8 :Facilitating Meaningful Conversations and Building Relationships: How to Create Vibrant Music Ecosystems in the AcademyChapter 9: Community Engagement, Data Collection, and Audience DevelopmentSelected Bibliography and ResourcesSelected Song Anthologies and CollectionsGlossaryIndexAbout the Authors

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Book SynopsisScientific knowledge of vocal acoustics has grown exponentially in the last eighty years. With sophisticated yet inexpensive sound analysis technology, more voice teachers are curious about the value of vocal acoustics for the studio and see the need to understand it for more efficient, scientifically informed pedagogy. Kenneth Bozeman distills the most important vocal acoustics principles and insights for contemporary teachers and singers. With concise and easy-to-understand language, the book takes these complex concepts and imparts practical tips and strategies that anyone can use in their teaching and singing. Unlike many other singing texts, this book approaches the voice exclusively as an acoustic phenomenon.Bozeman addresses a myriad of topics including: Harmonics and theories of vocal resonance Formants and their interaction with harmonics Vocal registration Passaggio training Tube acoustics and their pedagogic implications The acoustics of belting Vocal acoustic technology useful for the studio Also included are hands-on exercises to illustrate concepts. Table of ContentsForeword Preface About the Author 1 Introduction 2 Harmonics Primer 3 Overview of the Changing Theories of Vocal Resonance 4 Formants Primer 5 Harmonic/Formant Interactions 6 Female/Treble Voice Resonance Strategies 7 Male Passaggio Training 8 Perceptions of Turning Over 9 Pedagogic Implications of Tube Acoustics 10 Pedagogic Strategies that Encourage Tube Stability and a Convergent Resonator 11 The Acoustics of Belting 12 Semantic Differences 13 Acoustic Explorations 14 Corollary Strategies 15 Laryngeal Registration Revisited 16 Instructional Technology Definitions Abbreviations Appendix 1: Madde Explorations Appendix 2: Approximate F1 Locations by Voice 1 Appendix 3: Events Surrounding the Male Passaggio Appendix 4: Youtube Examples Selected References Index

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Book SynopsisThis expanded edition includes a new introduction by John Nix as well as a new appendix offering case studies and practical insights from teachers about how Barbara Doscher has impacted their voice instruction.An understanding of how the singing voice functions should be a prerequisite for all those who wish to teach singing. And fundamental to any safe and efficient teaching method is the recognition that the singing voice is a functional unit. Consequently, this second edition, like the first, describes the anatomy and physiology of breathing and phonation and examines the acoustical laws necessary for an understanding of resonation. It is designed primarily as a textbook for college vocal pedagogy courses.The book includes detailed illustrations and an expansion of the appendix on vocal misuse and abuse, including data on subglottic air pressure/air flow ratios, the phonatory mode known as belting, and the aging voice, especially as it is affected by hormonal changes in the body. It also feature an extensive bibliography.

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Book SynopsisA terrific take on theatre singing by a master teacher. David Craig knows more about singing in the musical theatre than anyone in this country ä which probably means the world. Time and time again his advice and training have resulted in actors moving from non-musical theatre into musicals with ease and expertise. SHORT OF TAKING CLASSES THIS BOOK IS A MUST. ä Harold Prince

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Book SynopsisWidely recognized as the most complete and rigorous text of its kind since it was first published in 1942 ÊSpeak With DistinctionÊ is an invaluable resource. It presents a comprehensive study of the sounds of Spoken English in their most important phonetic environments. This most recent revision also adds much material for comparisons of speech sounds; suggestions for accurate efficient and conversational ways of combining the sounds into connected utterance; indications that foster a working knowledge of two dialects of speech (General American and what Mrs. Skinner called Good Speech for classic and elevated texts); and beginning material to show application of the principles of Good Speech to well-written texts.ÞSome important additions to the book are the extensive Glossary and Index abundant guides to pronunciations new sections featuring such details as the complete Ask-List of words a program for the elimination of glottal attacks of vowel and dipthong sounds greatly expanded practice material of phrases and sentences and an updated Chart showing several levels of phonetic transcription and spelling equivalents in current usage.ÞÊSpeak With DistinctionÊ can be used in several ways: as a primary educational textbook for both the beginning and advanced actor; as a supplementary textbook for teachers and students who have their own methods and agenda for study; and as a reference book for teachers speech coaches and directors.

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