On the art of singing

On the art of singing / Richard Miller.

This manual deals with all aspects of singing and includes vocal technique, style and interpretation, professional preparation, and vocal pedagogy.

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Bibliographic Details
Main Author: Miller, Richard, 1926-2009
Format: Book
Language:English
Published: New York : Oxford University Press, 1996.
Subjects:
Singing > Instruction and study.
Singing > Interpretation (Phrasing, dynamics, etc.)
Singing > Vocational guidance.
Voice.
Singing > Instruction and study
Singing > Vocational guidance
Table of Contents:
  • Part I : On training the singing voice. Imagery and the teaching of singing
  • Five principles for the successful teaching of singing
  • Covering in the singing voice
  • The open throat (La gola aperta)
  • Breath management diction and the vocal legato
  • Diction and vocal technique
  • The performer as voice teacher
  • Pedagogical clothing for the emperor and empress
  • The tricky teacher
  • Woofy baritones and tinny tenors
  • McPedagogy
  • What you need is more support
  • Simplicity in singing
  • Teaching hearing the voice
  • Si canta come is parla
  • How singing is not like speaking
  • Thinking phonetically (values and pitfalls of the IPA)
  • A parable of the foolish baker
  • The choral conductor as teacher of vocal technique
  • The law of contingency and vocal pedagogies
  • To admire or to teach
  • Patching the vocal garment
  • Mysteries and miracles
  • The flat earth school of vocal pedagogy
  • Sharpening up some old pedagogical saws
  • Open windows.
  • Part II : On musical style and interpretation. Purely a matter of taste
  • The two poles of Bel Canto
  • Singing the mélodie
  • Self perception and performance reality
  • Liederwurst
  • Seit ich ihn gesehen ... kann ich jedoch singen
  • Words or sentences? Notes or phrases?
  • Sentiment or sentimentality
  • Singing the recitative
  • Reality and art
  • Pop music, non western European vocal styles and efficient vocal function
  • How is legato achieved in singing
  • Rhythm versus beat
  • Large and small strokes
  • The Gilda in the sack school of singing
  • The demise of the studio Baroque vocal sound
  • Vocal coach or vocal technician
  • Vocal tea parties of the private and public sorts
  • As the old Italians said
  • The lively dying art of singing
  • The sense of immediacy in singing.
  • Part III : On preparation for the professional life. The seven pillars of performance success
  • Wrapping up the performance package
  • What to do on a performance day
  • Warming up the voice
  • The technique of marking
  • The vocal contestant and the judges
  • Twenty-one proven ways to alienate competition judges
  • Beginning with another teacher
  • Early and late bloomers
  • creative practicing
  • A stroll past the practice rooms
  • What technical work have you done today
  • The lonely soccer player
  • How to really bomb a master class
  • Developing independence in the student
  • Is there a cure for performance anxiety
  • Please tell me my fach
  • The aging singer
  • The wisdom of the body in singing
  • Studio procedures
  • Truth in advertising
  • a critical look
  • The practicality of creativity.
  • Part IV : On the singing voice and vocal function. The singing teacher in the age of voice science
  • On the invasion of vocal pedagogy by science
  • The invisible instrument
  • Have you read the literature
  • Taming the terrible triplets of vocal tract : tongue / hyoid bone / larynx
  • The three musketeers of tension : tongue, neck and jaw
  • Gorillas giraffes lions and gazelles
  • Male and female created he them
  • In search of the tenth rib
  • Teaching voices of the opposite gender
  • Instinctive artistic singing
  • Let's build a straw man : the technique versus artistry debate
  • The misuses of scientific information in the teaching of singing
  • Relax and sing
  • Easily not lazily : tonicity in the singing instrument
  • The effect of tongue position on spectra in singing
  • The role of the jaw in singing
  • The incorrupt jaw and tongue of Saint Anthony of Padua
  • How big is the big sound
  • Feeling hearing and seeing the voice
  • Spectrographic analysis of the singing voice
  • Vowel definition in a performance by Jussi Bjoerling of Vesti la giubba
  • Spectral components of five cardinal vowels in the soprano singing voice considered by means of the sequential vowel diagonal
  • A brief spectral study of vowel differentiation and modification in a professional tenor voice
  • What the vocal arts laboratory can and cannot do
  • The singer and the Otolaryngologist.

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