Coffin's Sounds of Singing


Book Description

This essential foundation for teaching vocal technique is now available in paperback! Based on the great teaching of the past, it explains the utilization of principles and applications of vocal techniques. The Chromatic Vowel Chart defines the vowel color changes in chromatic progressions for all voices, and the text explains how singing principles can be used by relying on the ear, the eye, and the sense of vibration in the body. Cloth edition [0-8108-1933-3] published in 1987. Paperback edition available April 2002.







Coffin's Overtones of Bel Canto


Book Description

Presents in acoustic phonetics, register and musical notation, many exercises that will make the voice stronger and more musical according to the precepts of Bel Canto.




Phonetic Readings of Songs and Arias


Book Description

Since the publication of the first edition in 1964, Phonetic Readings of Songs and Arias has served singers, teachers of singing, and students of lyric diction as a guide to the correct pronunciation of songs in foreign languages.




Historical Vocal Pedagogy Classics


Book Description

This paperbound reprint of a 1989 work for teachers of singing, performing singers, and vocal pedagogy students presents the insights of great teachers from the past--insights that have been lost or diluted over the years and which the author believes to be important to the art of teaching. In 18 chapters, Berton (emeritus, music, Colorado College) discusses the writings of Tosi, Garcia, Stockhausen, Sedie, Seiler, Lamperti, Shakespeare, Witherspoon, Lilli Lehmann, Byers, and Johnstone-Douglas. Annotation copyrighted by Book News, Inc., Portland, OR




Making More Sense of how to Sing


Book Description

(Meredith Music Resource). This book reveals how anybody can learn to sing and how any voice teacher or choral conductor can get anybody to sing, and keep making breakthroughs in singing. With multi-sensory techniques to match and build learning strengths, this book is for any singer from the rank beginner including those thought to lack the ability to the experienced and mature singer. Whether for self-guided, teacher-guided, or conductor-guided learning situations, this unique collection of exercises wakes up the senses for amazing results. (a href="http://youtu.be/gfgYisAjZ2Y" target="_blank")Click here for a YouTube video on Making More Sense of How to Sing(/a)




Singing and Teaching Singing


Book Description

Singing and Teaching Singing: A Holistic Approach to Classical Voice, Fourth Edition continues to be a beloved resource for singers and their teachers, speech-language pathologists, and laryngologists and an adopted text for instructors and students in voice, singing, and performing arts courses. Janice L. Chapman is able to draw on her experiences as a singer with some of the world's leading opera companies to present a teaching technique specifically focusing on voice in the areas of classical and opera singing. Interspersed with the concepts and components of Chapman's methods are vignettes from her life and career, animated by her conversational and vibrant style to guide (and entertain) the reader through the book in a step-by-step fashion. Now expand to include joint authorships with Dr. Ron Morris, the fourth edition draws on his experience as a speech and language therapist, audiologist, and singer, and widens the scope of the book to view current studio teaching practices through a scientific lens. The philosophy of teaching presented combines three main facets: Holistic, Physiological, and Incremental. The Holistic segment emphasizes that the act of singing involves the whole person (i.e., body, mind, spirit, emotion, and voice); the Physiological segment stresses anatomy, muscular function, and effects of muscular interactions so that students and teachers alike can understand and visualize the functional workings of the torso, larynx, and the vocal tract and their impact on good singing practices; and the Incremental section shows that the act of singing and the teaching of singing can be broken down into manageable components that have a natural hierarchy that eventually interact and interlock. This teaching model provides a framework to master one element at a time, with the resulting effect of a complete and integrated mastery of technique. Chapman recommends this framework for rehabilitative work with the dysfunctional singer, for working with the developing singer, and for the ongoing development and maintenance of the technically able professional singer. This highly-readable text includes contributions from renowned voice professionals, case studies, evidence-based and practical examples, exercises, and videos. New to the Fourth Edition: * New editor and co-author, Ron Morris, BSpThy (Hons); MMusStud (Voice), MSPAA, MASA (CC), PhD * The addition of completely new chapters on Laryngeal Registration, Vocal Acoustics and Acoustic Registration * Clarifications and exercises by Dr. Ron Morris on the use of the Accent Method breathing as a highly effective remedial and training technique * Expanded and updated information on Breathing and Support, Vocal Acoustics, Registers (Laryngeal and Acoustic), Teaching and Learning, Hearing and Singing, and Manual Therapy * Exercises have been significantly expanded and now are contained in a chapter of their own, which includes some information on lesson structure and practice * Significant updates reflect the current state of research and the latest advances in voice science and pedagogy have been referenced throughout * A new glossary has been added for ease of reading and clarification of pedagogical terms used in the text




Rustic Speech and Folk-Lore


Book Description

Example in this ebook Under the heading of ‘The Varieties of English Speech’ an article of mine appeared in The Quarterly Review of July, 1907. The favourable reception accorded to it at the time prompted me to embark forthwith on a larger work dealing with the same subject. Many books both scientific and popular have been written concerning dialect speech and lore, but nearly all of them are special investigations of some particular dialect. I have taken a bolder flight than this. I have not given a detailed account of any one dialect, but I have surveyed them all, and have gathered words, phrases, names, superstitions, and popular customs, here and there, wherever I found something that appealed to me, and that I felt would appeal to others as well as myself. It was impossible to make any one category exhaustive, for such was the mass of material open to me for selection, I might say I was ‘fairly betwattled and baffounded’. The only thing to be done was to make my selections fairly representative of the whole. My aim in dealing with the linguistic side of my subject has been to show that rules for pronunciation and syntax are not the monopoly of educated people who have been taught to preach as well as practise them. Dialect-speaking people obey sound-laws and grammatical rules even more faithfully than we do, because theirs is a natural and unconscious obedience. Some writers of literary English seem to enjoy flinging jibes at dialect on the assumption that any deviation from the standard speech must be due to ignorance, if not to vulgarity besides. Since I wrote the last chapter of this book, I read in a criticism of Stanley Houghton’s Play Trust the People, this sentence describing the Lancashire ‘father an old mill-hand and the homely mother to match’: ‘They are both drawn, you feel, to the life, and talk with ease, not to say gusto, that curious lingo which seems to an outsider mainly distinguished by its contemptuous neglect of the definite article’, The Times, Friday, Feb. 7, 1913. Now the definite article in north-west Lancashire is t, in the south-west and south t, or th, and in mid and south-east Lancashire th. When this t stands before a consonant, and more especially before a dental such as t, d, it is not by any means easy for the uninitiated to detect the difference in sound between the simple word and the same word preceded by the article, between, for example, table and t table, or dog and t dog. But this is not ‘contemptuous neglect’ on the part of the Lancastrian! It would be nearer the mark to say that the Lancashire dialect is characterized by its retention of a form of the definite article very difficult to pronounce in certain combinations. Further, I have endeavoured to show by means of numerous illustrations, how full the dialects are of words and phrases remarkable not only for their force and clearness, but often also for their subtle beauty, that satisfying beauty of the thing exactly fitted to its purpose. I have also drawn up lists showing the numbers of old words and phrases once common in English literature, still existing in the dialects. Occasionally writers of modern verse seek to restore some of the words of this type to their former position in literary English, thereby causing the reviewer to stumble dreadfully, though he thinketh he standeth. I quote the following from a literary periodical dated May 2, 1913: ‘He debates if he shall make “a nest within a reedy brake”, or, failing this delectable situation, offers himself a quaint alternative, Or I shall see with quiet eye, The dappled paddock loping by. We had always supposed in our ignorance that “paddock” was a term applied to green fields or pastures. How Mr. ... could have seen a paddock “lope” we do not know, and perhaps it would not be kind to ask him to explain.’ To be continue in this ebook




Ainsworth's Magazine


Book Description




99 Coffins


Book Description

Laura Caxton vowed never to face them again. The horror of what the vampires did is too close, the wounds too fresh. But when Jameson Arkeley, broken and barely recognizable, comes to her with an unfathomable, unholy discovery, her resolve crumbles. Arkeley leads Caxton to a tomb in Gettysburg recently excavated by a local archaeology professor. While the town, with its legendary role in the Civil War’s worst battle, is no stranger to cemeteries, this one is remarkably, eerily different. In it lie 100 coffins—99 of them occupied by vampires, who, luckily, are missing their hearts. But one of the coffins is empty and smashed to pieces. Who is the missing vampire? Does he have access to the 99 hearts that, if placed back in the bodies of their owners, could reanimate an entire bloodthirsty army? How did the vampires end up there, undisturbed and undiscovered for 150 years? The answer lies in Civil War documents that contain sinister secrets about the newly found coffins—secrets that Laura Caxton is about to uncover as she is thrown into a deadly, gruesome mission of saving an entire town from a mass invasion of the undead. . . .