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Schools of thought, 2
Scientific and pedagogical viewpoints reconciled, 15; scientific research, modern, 8; scientific teaching, 243
Style, defined, 218
Score, deviations from, 218; its limitations, 222
Self-consciousness, 40,64,127,128,163,218, 238
Self-expression, 42, 61, 63, 68, 123, 217,220, 238; in singing, defined, 41
Self-listening, importance of, 112
Semi-vowels, 195, 208
Sensation, a guide to singing, 183
Shoulder blades, 73, 82, 107, 126
Shouting, 170
Sight-singing, 200
Silent breathing, 88, 119
Silent practice, 57, 67, 82
Sing-as-y®u-speak approach, 38, 41, 44, 63, 225, 226
Sing-on-the-breath, 91, 92, 96, 97, 180
Singers, ability as teachers, 7; compared to non-singers, 103
Singer's diction, 192,197, 205, 210,212,213; nodes, 175; responsibilities, 238
Singing, a lost art, 24; acoustical factors, 175, 187; benefits of, 21, 22, 61, 75, 77; can everyone sing? 22, 23; components of, 11, 60, 123, 241; crooning style, 214; defined, 17, 210; guiding principles, 23, 47, 196; its psychological nature, 4, 29, 32, 41, 42, 63, 64
Singing art, its complexity, 3
Singing compared to speaking, 4, 43, 45-46, 64, 78, 90, 197, 198, 211, 212, 224, 239
Singing off key, 106
Singing profession, 93; causes of confosloD,
3 Singing voice, characteristics of, 16,17,192;
training defined, 20, 60; pedagogical aspects, 11, 24, 28 Sinus, 134, 135, 136; function of 131, 136,
145, 146; a tonal generator, 103, 136;
conflicting opinions, 136; vibration in,
151 Self-listening, arguments, 181,188; defined,
181 Sensation, and sound interrelated, 182, 1S4,
188; defined, 182 Skull, sound conduction in, 136; temporal
bones, 126 Sleep, diaphragmatic action, 87 Slurring, 110 Slow-motion analogy, 4 |
^ m
Soft singing as a teduBcpie, 162
Solar plexus, 73
Sol-fa, defined* 19$ in training mine,, ion* 200, 213
Solfeggio, 199
Somatic response, tooals 101
Song analyse, various factors, 54. n*, t*8» *34
Song approach, 53, 65
Song literature, choice of, €6,1G5. 175,129
Songs, classifications of, 228; tion in, 210, 213, 215, 217, 221, 235; defined, 53, 197, 227, 228; obstacles la learning, 235; power range of, 168; practice of, 49,52, 54; transposed, 66
Soprano, 149, 158
Sostenuto, 197
Sound, acoustical energy, 123, i&j; characteristics of, 96, mh, 131, 133, 176; 205; defined, 176; propagation of, ios, iji, 143; generator, 102,103,129,147,1S7
Sound medium, 187
Sound wave and air current aanparesi, 96
Sources of information, 11
Specialization, danger of, 14
Speaking the song, 224
Speaking voice, a guide to singing vdice, 44
Speaking* as a teaching device, 197; defined. 197, 210; range, iS^SS* *55» *°§
Speaking habits, influence of, 189,197, sio
Speech analogy, 189
Spine, 74, 82, 126, 153
Spontaneity, 38, S3, 64, 164
Spontaneous singing* 32, 155, 22% m, 225, 233, 241
Staccato, 231, 233, 241
Stage fright, 40
Standardization in vocal tmMeg, 4, 27, 28, 62, 181, 242, 24$
Stemo-thvroM, muscle, 107* ioSa 11& 1%
Stethoscope, a teaching device, 13B
Strain, vocal, 66, 165
Striving versus letting, s§, 127
Stroboscope, view of cotA, 152
Stylo-hyoM, muscles, is6
Subglottic vibrations, 100, 138
Subfect notes, 13
Summary and interpretation Kama, 14
Supplemental air, 88
Support, vocal 180
Sustaining a tow, 30, 77® % 3°* 9*
Swallowing muscles, 48* 118
Swelling and dimiiniitiiii£ 173
Syllabic devices, 119, 120, ijG* *$7» l&t
Syllable, 207 |
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