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TRAINING THE SINGING VOICE |
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The simplicity and adequacy of the author's novel approach helps
solve many problems of diction and interpretation for the beginner.
141. Henderson, Charles. "Bringing a Song to Life." Etude, Philadelphia, 1940,
Vol. 58, p. 164.
The author of How to Sing for Money gives practical advice on interpretation. An audience bent on amusement wants to feel, not think.
S4S.--------and Palmer, Charles. How to Sing for Money. George Putnam,
Incorporated, Hollywood, 1939. An excellent book for layman or professional covering many practical
problems of public performance. Written by one who knows. Interesting reading. S43. Henderson, William J. The Art of Singing. Dial Press, New York, 1938,
revised edition. A work preeminent in historical research, providing an indispensable
background for teachers and students of singing. Many practical
applications in voice culture. Unquestionably the work of a scholar.
Stress is laid upon the historical rather than the pedagogical aspects of
singing. a^„--------- -Lost Art of Singing." Literary Digest, New York, December 33,
1933, Vol. "6, p. 23. Vocal art cannot compare with instrumental virtuosity in modem
times. Too many mediocre singers are allowed to appear in public
performances. *£$. Henley, Homer. ''Bouquet of Recitative." Etude, Philadelphia, 1930, Vol.
4§» p- 359-
A few practical suggestions are given on the study of recitative Singing.
^S,--------'The First Vocal Lesson." Etude, Philadelphia, December 1928-
February, 1929, Volumes 46, 47, p. 944.
Proper breathing is the bed rock of singing. Thoughts on diction are added. A veteran teacher gives advice to young teachers on how to conduct the first vocal lesson. Some fine points of ethics and studio procedure are also considered.
*47---------"Garcia's Second Discovery; Correcting Breath Leakage." Etude,
Philadelphia, 1931, Vol. 49, p. 36a
A valuable developmental and corrective technique is discussed, based upon the staccato attack.
j^g.--------«In Search of the Great Tone." Etude, Philadelphia, 1933, Vol. 51,
p. t§§.
The author makes extravagent claims for emotional singing. A pbBosophical discussion in which tone-texture, resonance, breathing and rhythm are related to the emotions.
j^q,--------The Inner Principle of the Teaching of William Shakespeare/f
Eimde, Philadelphia, 1934, Vol. 52, p. 188.
Tuning the voice to exact pitch on every note is the "inner principle.^ A simple vocal exercise for attaining this result is described. 250.--------"Legato Leap." Etude, Philadelphia, 1930, Vol. 48, p. 358.
The importance of legato singing is emphasized. |
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