Training the Singing Voice - online book

An exploration of the theories, methods & techniques of Voice training.

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	304	TRAINING THE SINGING VOICE

	426. NicoII, Irene Howland and Dennis, Charles M. Simplified Vocal Training. Carl Fischer, New York, 1940. Part one deals with principles, part two with song study and interpretation. Some conventional vocalises are added. 427. Noller, Rose. "Phonetics and Singing." Etude, Philadelphia, 1939, VoJ. 57, p. 33⁶- This analytical description of vowels, diphthongs and consonants provides the singer with a practice chart for overcoming his diction problems. 428. Norton, William W. "Principles Involved in Vocal Tone Production." Ed- ucational Music Magazine, Chicago, September, 1941, Vol. 21, p. 14. A brief but intelligent discussion of breathing, resonance and diction. ^₂g,-------- "Vowels and the Singer: English, German, French, Latin." Educational Music Magazine, Chicago, November, 1941, Vol. 21, p. 29. Methods of improving English diction are discussed. A Latin pronunciation chart is included. 430. NoveHo-Davies, Mrs. Clara. You Can Sing. Selwyn and Blount, London, 1930. A well rounded teaching experience is epitomized in this volume. Practical, interesting and valuable hints to singers abound. 431. Novotna, Jarmila. "Don't Fear Your Limitations!" (An interview.) Etude, Philadelphia, 1940, Vol. 58, p. 223. The paradox of technique is that it must be perfectly controlled in order to be perfecdy concealed. A prima donna gives words of encouragement to young singers.
	432. Obolensky, Alexis. "Passing from Conscious to Subconscious Control hi Vocal Practise." Musician, New York, April, 1930, Vol. 35, p. 17. Conscious control gradually disappears as mental and physical coordinations are built into the vocal apparatus. Breathing and relaxation are discussed. 433* ®g^e Robert B. ⁴Modem Science vs. the Art of Song." Musician,* New York, 1940, Vol. 45, p. 154. A comparison of contradictory opinions on vocal physiology. 434. Olden, Mme. Margarete. "A First Lesson in Singing." Etude, Philadelphia, 93$» Vol. 51, p. 338. A German prima donna discusses breathing, vowels and tone placement in general terms. 435. Onegin, Sigrid. "Coloratura Contralto." (An interview.) Etude,* Philadel- phia, 1932, Vol. 50, p. 701. The contralto voice is not subordinated to the soprano but is equally important in opera. The distinction between the two is one of timbre rather than range. Training principles are discussed. 436.--------"Singing Student's Vacation." (An interview.) Etude, Philadelphia, 1934, Vol. 52,^ p. 275. Scale practice and musicianship should form a regular part of the singer's study diet in season and out.