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TRAINING THE SINGING VOICE |
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147. Drew, William Sydney. Singing; The Art and the Craft. Oxford, London,
A scholarly philosophic discussion emphasizing British traits and mannerisms in singing.
14g. ---------"Some Principles of Voice Training." Musical Times, London, 1957,
Vol. 78, p. 406. Listening to good vocal models is a valuable ear training device.
i^g. --------- "Voice and Verse." Musical Times, London, 1942, Vol. 83* p. 171-
Interesting comments on the importance of text in interpreting a song and the failings of singers who ignore the text.
150. DunMn, Leslie E. "Acting the Song." Etude, Philadelphia, 1938, Vol. 56,
p. 470. The singer's technique is compared to the actor's technique.
151. Dunkley, Ferdinand L. The-Buoyant Voice. C. G. Birchard, Boston, 1942.
An interesting theory with accompanying exercises, proposing that the mood of the highest pitch in each song phrase shall dominate the mood of the entire phrase.
152. Earhart, Will. Choral Technics. M. Witmark and Sons, New York, 1937.
A practical study course integrating sight singing, vocal training and repertory materials.
*53---------- Teachers3 Manual for Choral Technics. M. Witmark, New York,
1938.
A companion work to the author's Choral Technics, giving instructions for using the latter.
154. Easley, Eleanor. 44A Comparison of the Vibrato in Concert and Opera
Singing.** (In: The vibrato, University of Iowa Studies in the Psychology of Music.) University of Iowa Press, Iowa City, Iowa, 1932, Vol. I, p. 263.
An abridgement of an M.A. thesis experimental study reports that opera singers employ wider and faster vibratos than concert singers.
155. Eddy, Nelson. "Success in Voice Study." (An interview.) Etude> Philadel-
phia, 1939, Vol. 57, p. 695.
Advice to beginners on how to launch a successful singing career includes warnings against common pitfalls. 256. Edgerton, Howard H. "Nasal Tone." Etude, Philadelphia, 1942, Vol. 6o»
P- 374-
Part of every tone must be sung through the nose. An attempt is made to dispel the nasal tone fallacy, with doubtful results.
157- -------- "Vocal Training as Music Study." Musician, New York, 1939, VoL
44* P- *7*«
The teacher must handle each pupil differently and with sympathetic tact. Hence, vocal teaching methods are administered to suit the individual's attitudes and shortcomings.
158. Edwards, Fassett "Some Secrets of Good Singing." Etude; Philadelphia,
1932, VoL 50, p. 506. A physician discusses vocal theory. Crude concepts of vocal action.
159. Efnor, Claude Orin. The Voicemasier Course for Self Training of the
Voice. Voicemaster Studios, Minneapolis, 1942. The author professes to base his infallible method on authentic |
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