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TRAINING THE SINGING VOICE |
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613. Tibbett, Lawrence. "Should I Change Teachers?" (An interview.) Etude,
Philadelphia, 1935, Vol. 53, p. 458.
Beginners are usually slaves of the big tone habit. Working with pianissimo tones produces best results. Admonitions to teachers against
vocal abuses in studio practice are given.
614. ---------"There is No Open-Sesame." (An interview.) Etude, Philadelphia*
1940, Vol. 58, p. 820. Vocal and dramatic technique should be studied simultaneously.
615. Tiffin, Joseph. "The Role of Pitch and Intensity in the Vocal Vibrato of
Students and Artists/1 (In: The Vibrato; University of Iowa Studies in the Psychology of Music) University of Iowa Press, Iowa City, Iowa, 1932, Vol. i» p. 154.
The general characteristics of the vocal vibrato are studied by means of objective records of the pitch and intensity fluctuations of the voices of artist singers and students of singing.
616. Tilery, Lloyd. "Creative Singing." Etude, Philadelphia, 1934, Vol. 52, p. 48.
The mechanical preparation of a song can never be as effective as the interpretation of its inner meaning. §17. Tolmie, J. R. "An Analysis of the Vibrato from the Viewpoint of Frequency and Amplitude Modulation." Journal Acoustical Society of America, L
Intensity and pitch fluctuations are mathematically analyzed and interrelated in this technical discussion of the vocal and instrumental vibrato. Si8. Toien, E. Gilford. "The Relation of the Student, to His Singing; the Teacher's Responsibility." Music Teachers National Association Proceedings for i&f1* Pittsburgh, 1942, Vol. 36* p. 324.
€3iaracter traits are interwoven with technical abilities in the student's approach to singing. Ideals are discussed. |
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619. Vale, Walter Sidney. Tone Production in the Human Voice. Faith Press, London, 1934.
A short philosophical treatment of the singing voice based on the
"sing as you would speak" idea. The author stresses the psychological approach—mind over muscle. There are many gaps in the treatment of his subject, Sao. Valeri, Mme. Dalia. "Mastering the Italian Vowel in Voice Study." Musician,
New York, July, 1934, Vol. 39, p. 11.
The Italian language is the best of all tongues for singing. The argument is short and unconvincing. 5ai.-------- "Open Tones, Covered Tones, Closed Tones-** Musician, New York,
September, 1934, Vol. 39, p. 11.
Perfect vocal control is possible only by closing the tones. This process is advocated but not described or explained.
6**. •-------- "Tone Attack and Blending of Registers/* Musician* New York,
August, 1934, Vol. 39, p. 8.
Registers help to locate points of resonance for each singing tone. General hints on tone placing are given. |
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