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ANNOTATED BIBLIOGRAPHY |
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The average compass of male and female voices is briefly described* with some arbitrary comment on registers.
278. Hok, Anton. The Art of Voice Production. The author, New York, 1941.
Restatement of familiar, conventional vocal principles with some syllabic vocalises added. The author tries to advance himself as a teacher throughout.
279. Holl, Minna Franziska. "An Approach to Music Study through Solfege."
Musician, New York, June, 1931, Vol. 36, p. 8.
All music pupils should be taught to use the following formula: 1. See the note. 2. Hear the note. 3. Produce the note. Vocal ear training implications are obvious.
280. Holland, Edwin. "Voice Production." Etude, Philadelphia, 1929, Vol. 47, p.
298.
A few brief comments on vocal fundamentals. Loose throat, jaw and breath control are stressed.
281. Holscher, Mrs. Herbert. "Singing for Recreation." Ohio Parent Teacher,
Greenfield, Ohio, 1959* Vol. 17, p. 7.
Make good vocal music popular and popular vocal music good.
282. Homer, Mme. Louise. "The Singers 'Half Dozen/" Etude, Philadelphia,
1934, Vol. 52, p. 315. Six general rules on how to study are listed with brief comment.
283. Hopkins, Edwin. Secrets of Voice Production, Self Taught. The author,
New York, 1942. Conventional ideas, unproved and vaguely expressed.
284. Howe, Albert Percy. Practical Principles of Voice Production, (for schools)
W. Paxton and Company, Limited, London, 1940.
A few typical vocal exercises and phonetic tables supplement the brief and simple explanations of vocal theory. Not enough substance for a text.
285. Huey, Luzera Orrin. "Breathing for Voice Production.** Etude, Philadel-
phia, 1931, Vol. 49, p. 284.
The control of the diaphragm is discussed. Breath control is best acquired through the practice of phonation, with automatic breathing as an objective.
286.---------. "Developing Breath Support for Voice Production.'* Etude, Philadelphia, 1929, Vol. 47, p. 602.
Two schools of thought are vaguely presented. Physical exercise is not as effective in promoting breath control as is the actual singing of tones.
287. --------- "Mental and Physical Concepts in Song." Etude, Philadelphia,
1937*Voi- 55* P- 8l8-
An argument against the supremacy of the mental concept as a controlling factor in voice production. No mere concept can change the voice. Physical exercise is necessary. 2g8. --------- "The Nasal Tone." Etude, Philadelphia, 1932, Vol. 50, p. 879.
Several fallacies of tone production are discussed. Normal voice is always a reflex response to a mental concept. |
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