- Age Range: 6 and up
- Grade Level: 1 and up
- Paperback: 216 pages
- Publisher: Oxford University Press; 1 edition (June 4, 1998)
- Language: English
- ISBN-10: 0198790163
- ISBN-13: 978-0198790167
- Product Dimensions: 8.4 x 0.6 x 5.4 inches
- Shipping Weight: 9.9 ounces (View shipping rates and policies)
- Average Customer Review: 6 customer reviews
- Amazon Best Sellers Rank: #835,130 in Books (See Top 100 in Books)
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Singing and Imagination: A Human Approach to a Great Musical Tradition 1st Edition
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"This book is one of the clearest, friendliest, and sanest books about singing and singing teaching that I have ever read. It matches a holistic integrity on the conceptual and spiritual level (something often lacking in such publications) with a simplicity of detailed explanation about practicalities. The ability to refer a wide range of singers (student, amateur, and professional) to this book will make my life a lot easier and more productive."--Robin Bowman, Head of Vocal Studies and French Consultant, National Opera Studio, London
About the Author
As a concert singer, Thomas Hemsley has performed a very extensive repertoire and has appeared as a soloist with symphony orchestras throughout Europe. He has sung under some of the greatest conductors of our time, and for such composers as Vaughan Williams, Hindemith, Stravinsky, Britten, Walton, Tippett, and Henze. He was Professor at Guildhall School of Music and Drama (1987-96) and Trinity College of Music (1988-92), and guest Professor at the Royal Danish Academy of Music.
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Top customer reviews
Reminiscent of Sergius Kagen's "On Singing", Hemsley emphasises preparation of the text and Knowing Thy Score prior to even thinking about singing. Singing ought to start with an urgent impulse to share with the audience a story, which can only be brought about when one has brought the character, music and text to life in one's own head. Again like Kagen, Hemsley spends no time on anatomy or physics, arguing that this can even be detrimental in creating an artist.
A particularly interesting aid is the use of tessitura (which in this case is defined by Hemsley as a single note around which the others are centred). Keeping this note in mind throughout the piece should ensure accuracy of pitch, and better legato.
Overall, Hemsley provides a coherent and common sense framework for a meaningful performance."Testing" his suggestions one by one I found a distinct improvement in my technique and, more importantly, greater enjoyment of the music.