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ANNOTATED BIBLIOGRAPHY |
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2^lm _-------- "Lessons from Recorded Artist Singers." Etude, Philadelphia, 1938,
Vol. 56, p. 256.
The use of phonographic recordings of singers as a teaching device is discussed.
s^2m _--------"'Modern Vocal Methods in Comparison with Bel Canto." Etude,
Philadelphia, 1939, Vol. 57, pp. 406, 468.
The author favors bel canto methods and discusses their essential principles in a sequence of two articles.
253. --------- "A New Key to the Head Voice." Etude, Philadelphia, 1930, Vol. 48,
p. 358.
A brief article on extending the upper soprano range.
254.--------- "Sbriglia's Method." Etude, Philadelphia, 1933, Vol. 51, p. 51.
Breathing and resonance are the main subjects discussed.
255. --------- "Singing 'as Easily as You Breathe/ " Etude, Philadelphia, 1933, VoL
51, p. 700.
By acquiring a correa posture the singer finds a short cut to the mastery of breath and tone. S5§m __------- "Sing Out or sing In." Etude, Philadelphia, 1933, Vol. 51, p. 195.
The mental approach to voice projection is discussed. 257.--------- "The Technic of Vocal Intensity/' Etude, Philadelphia, 1936, VoL
54* P- 47-
The abdominal press in breathing is advocated and discussed. S£g, --------- "Training the Male Voice." Etude, Philadelphia, 1936, VoL 54, p.
Register breaks and covering high tones are the topics discussed.
259. --------- "True Relation of Consonants to Singing." Etude, Philadelphia,
1937, Vol. 55, p. 190.
Vowels are the vehicles of voice. But consonants convey inteHigibflity and are essential to enjoyment. Examples are given.
^5o. --------- "The Truth about Nasal Tone/* Etude, Philadelphia, 1936, VoL 54,
p. 448. The pros and cons of placement and breathing are discussed. x6xm --------- "What the Singer Should Read." Etude, Philadelphia, 1932, VoL 50,
p. 434-
The singer's vocal bibliography is considered and a list of recomr mended readings given.
s62. --------- "Where Power is Beauty." Etude, Philadelphia, 1933, VoL 51, p. 613.
Soft singing is less forced and therefore usually more beautiful than loud singing. A very gradual crescendo should be practiced in segments until distortions of volume are overcome.
3*63. --------- "Why Must I Study Singing for Five Years." Etude, Philadelphia,
1936, VoL 54, p. 172.
Can vocal training be accomplished quickly? There are thousands of details that call for protracted study. Some of these are discussed.
264. --------- "Working Key to Bel Canto." Etude, Philadelphia, 1938, VoL 56, p.
680. Seven bel canto principles are propounded with appropriate refer- |
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