Product Description
THE SINGER AND HIS ART
CHAPTER I
FUNDAMENTALS
Naturalness.-The art of singing is the most intricate of any, and yet the most simple. In other words, while the cultivated artist will find plenty of use for all his intelligence and his years of education, it is nevertheless true that his oilier work is really great in proportion as it approaches naturalness.
ESSENTIALS AND INDIVIDUAL CHARACTERISTICS
The cultivation of the singing voice presents, at once, two obvious but distinct propositions:
1. The essential requirements, as manifested by the standard of the world's leading artists.
2. The individual characteristics, vocal (physiological) and mental, of the ambitious singer.
[3]
Table of Contents
CONTENTS; PART I THE VOICE; CHAPTER PArjp:; Introduction; I Fundamentals 3; Essentials and Individual Characteristics 3; Classification of the Voice 8; Male Voices 12; Female Voices 12; IT GExAltAL conservation op the voice 14; Breathing 15; Breathing Exercises 22; Development of Voice 25; Interpretation a ad Expression " 32; The Halls 42; III Voice Placino- Discussion op Defective; Voices 44; Defective Voices 44; Natural Tone Production 04; Vocal Hygiene from the Musical Point of View 6S; IV Peculiarities ok Tone Incident to Different; Nationalities 72; V Anatomy, Physiology and Hygiene of the; Vocai Oroans S8; Anatomy 8S; Hygiene of Voiee 97; PART II; ACTING AND MIMICRY; VI Introduction 113; What Is Mimicry? 116; [ix]; CONTENTS; CHAPTER TAGE; Acting-Opera and Stage 116; How to Study and Analyze a Part 119; General Rules 12S; VII Elements of Mimicry 135; Gestures of the Head 137; The Forehead and Eyebrows 138; The Eyes 130; The Nose 142; Tlie Mouth, Lips, Cheeks, Chin and Jaw 142; The Kiss 141; The Ears 146; The Hair 146; The Arms and Hands 146; Hand and Finger Gestures 15;J; The Trunk and Breathing Action 15G; The Feet 156; Walking 158; Kneeling --This text refers to the Paperback edition.
CHAPTER I
FUNDAMENTALS
Naturalness.-The art of singing is the most intricate of any, and yet the most simple. In other words, while the cultivated artist will find plenty of use for all his intelligence and his years of education, it is nevertheless true that his oilier work is really great in proportion as it approaches naturalness.
ESSENTIALS AND INDIVIDUAL CHARACTERISTICS
The cultivation of the singing voice presents, at once, two obvious but distinct propositions:
1. The essential requirements, as manifested by the standard of the world's leading artists.
2. The individual characteristics, vocal (physiological) and mental, of the ambitious singer.
[3]
Table of Contents
CONTENTS; PART I THE VOICE; CHAPTER PArjp:; Introduction; I Fundamentals 3; Essentials and Individual Characteristics 3; Classification of the Voice 8; Male Voices 12; Female Voices 12; IT GExAltAL conservation op the voice 14; Breathing 15; Breathing Exercises 22; Development of Voice 25; Interpretation a ad Expression " 32; The Halls 42; III Voice Placino- Discussion op Defective; Voices 44; Defective Voices 44; Natural Tone Production 04; Vocal Hygiene from the Musical Point of View 6S; IV Peculiarities ok Tone Incident to Different; Nationalities 72; V Anatomy, Physiology and Hygiene of the; Vocai Oroans S8; Anatomy 8S; Hygiene of Voiee 97; PART II; ACTING AND MIMICRY; VI Introduction 113; What Is Mimicry? 116; [ix]; CONTENTS; CHAPTER TAGE; Acting-Opera and Stage 116; How to Study and Analyze a Part 119; General Rules 12S; VII Elements of Mimicry 135; Gestures of the Head 137; The Forehead and Eyebrows 138; The Eyes 130; The Nose 142; Tlie Mouth, Lips, Cheeks, Chin and Jaw 142; The Kiss 141; The Ears 146; The Hair 146; The Arms and Hands 146; Hand and Finger Gestures 15;J; The Trunk and Breathing Action 15G; The Feet 156; Walking 158; Kneeling --This text refers to the Paperback edition.
