Resonance in Singing and Speaking by Thomas Fillebrown (book suggestions .TXT) π
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These cavities reinforce the primary vibrations set up by the cords and serve to increase their intensity as they are projected from the larynx. The larynx is the vibrating organ of the voice. It is situated at the base of the tongue and is so closely connected with it by attachment to the hyoid bone, to which the tongue is also attached, that it is capable of only slight movement independent of that organ; consequently it must move with the tongue in articulation. The interior muscles of the larynx vary the position of its walls, thus regulating the proximity and tension of the vocal cords. The male larynx is the larger and shows the Adam's apple. In both sexes the larynx of the low voice, alto or bass, is larger than that of the high voice, soprano or tenor. The larynx and tongue should not rise with the pitch of the voice, but drop naturally with the lower jaw as the mouth opens in ascending the scale. The proper position of the tongue will insure a proper position for the larynx. The less attention the la
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begin, 77;
in public schools, 78;
by method, 79;
vibrato in, 80;
psychology of, 82-85;
sublimated speech, 83;
defined by Ffrangcon-Davies, 83;
freedom in, 84;
deterrents to, 84.
Sinuses, illustrated, 7;
pairs of, 8;
function of, 12.
Smile, Effect of, on pronunciation, 19.
Soft Palate, office of, 11, 52.
Speaking, obstacles to, 5;
tones of, identical with singing tones, 5;
difference from singing, 17;
expression in, 83.
Speaking Voice, misunderstood, 16;
connection with singing voice, 16;
how cultivated, 16;
identity with singing voice, 17;
and pronunciation, 18, 19.
Sphenoid Bone, 8.
Sphenoidal Sinuses, illustrated, 7;
pairs of, 8;
function of, 12.
Stage Elocution, criticism of Forbes-Robertson on, 19.
Teeth, function of, in use of voice, 12.
Throat, theory of sound in, 1;
a resonator, 6;
illustrated, 7;
relation to voice, 8.
(See Larynx and Pharynx.)
Throat Stiffness, most frequent obstacle to good singing, 74;
effect on larynx, 74;
difficulty in recognizing one's own, 74;
throat consciousness a common cause of, 74;
induced by lack of breath mastery, 75;
American hurry begets, 75;
voice culture a struggle with, 75;
remedies for, 75, 76.
Timbre of Voice, defined and explained, 7, 8.
Tone, defined, 45;
analyzed 45;
experiments to determine composition and resonance of, 46-50;
focusing of, 52;
vocal, a mental concept, 82;
whole man in, 83.
Tone Production, largely a matter of resonance, 56;
effect of right thought on, 56;
judged by naturalness and beauty of result, 56;
function of the ear in governing, 57;
cultivating normal, 57;
exercises to aid in, 58-73;
effect of throat stiffness on, 74;
natural, 77;
age to begin study of, 77.
Tone Quality, variety in, 6;
effect of emotion upon, 7, 75, 84;
relation of pronunciation to, 18;
how to secure purity of, 18, 19;
experiments to determine, 46-50;
and resonance, 5, 44, 45, 49, 50;
cause of nasal, 52-54;
beauty or harshness of, a criterion of judgment, 56, 57;
effect of throat stiffness on, 74-76;
dependent on mind and ear, 82;
related to personality of singer, 83;
natural and unnatural, 85.
Tongue, as an articulator, 6;
illustrated, 7;
connection with larynx, 9;
position of, in speaking and singing, 13;
tongue consciousness, 14.
Under Jaw, 10;
in ascending the scale, 10.
Upper Lip, in pronunciation, 19;
in practising, 68;
in articulation, 72.
Uvula, office of, 11.
Ventricle in the Larynx, 8.
Vibrato, 80, 81.
Vibrator, of the voice, 6;
of instruments, 43.
Vitalizing Text with Tone, the singer's mission, 18.
Vocal Cords, vibrator for the voice, 6;
in the larynx, 8;
described, 9;
not the principal cause of tone, 44, 45, 49;
necessity of free action of, 51.
Vocal Instrument, discussion of, 6-15;
beauty and complexity of, 6;
three elements of, 6, 7;
illustrated, 7;
relation of parts of, 8;
larynx, 8, 9;
vocal cords, 9;
epiglottis, 10;
pharynx, 10;
under jaw, 10;
soft palate, 11;
hard palate and teeth, 12;
nasal and head cavities, 12;
tongue, 13;
lips, 14;
nostrils, 14;
face, 15;
defects in, 85.
Vocal Tone, an audible mental concept, 82.
Voice Culture, opinions concerning, 2;
wrong methods of a generation ago, 3, 4;
cannot be developed mechanically, 4;
principles advocated, 5;
the right way the easy way, 5;
resonance an important factor of, 5, 43, 45, 50, 52, 54;
should begin in childhood, 77;
learned by imitation, 77;
Roger Ascham on, 77, 78;
in public schools, 78;
artistry in, 78, 79;
three periods of, 79;
application of essentials of, 79;
repose as a preparation for, 80;
the vibrato in, 80;
psychology of, 82-85;
personality in, 83;
freedom in, 84;
deterrents in, 84, 85.
Voice Placing, 51, 52, 56-73.
Voice Timbre, defined, 7, 8.
Vowel Sounds, 11, 18, 19;
singer's scale of, 20, 72;
each has its own pitch, 20;
lip position for, 20-22;
placing of, 52;
exercises for practice, 58-73.
Webster, Daniel, as a good speaker, 16.
Wheatstone, on pitch of vowel sounds, 20.
Willis, on pitch of vowel sounds, 20.
logo THE MUSIC STUDENTS LIBRARY
An enlarged edition with pronouncing dictionary.
Paper
75 A Ears, Brain and Fingers. Howard Wells. 1 25 A Half Hour Lessons in Music. Mrs. Hermann Kotzschmar.
Class work for beginners. Practical for teachers and mothers. Illus.
1 25 A Interpretation of Piano music. Mary Venable.
Studies in the meaning of printed signs used in music, and their bearing
on the interpretation of standard works.
2 00 A Natural Laws in Piano Technic. Mary Wood Chase.
Presents the essential laws of a sound piano technic.
1 50 A Piano Teaching: Its Principles and Problems. Clarence G. Hamilton, A.M.
A practical book, written by a practical man to meet practical needs.
1 50 A ORGAN Primer of Organ Registration. Gordon Balch Nevin.
Numerous illustrations and a Dictionary of Organ Stops.
1 50 A VIOLIN How to Master the Violin. Pavel L. Bytovetzski.
A practical guide for students and teachers.
1 25 A How to Study Kreutzer. Benjamin Cutter.
What every violin teacher discusses and illustrates in the lesson room.
1 25 A VOICE ABC of Music. Auguste Mathieu Panseron.
(Ed. by N.C. Page.) A standard primer of vocalization.
1 50 A do. Paper 90 A Commonplaces of Vocal Art. Louis Arthur Russell.
The plain truths of vocal art presented in simple untechnical language.
1 25 A English Diction for Singers and Speakers. Louis Arthur Russell.
For all who pretend to refined or artistic use of the English language.
1 25 A French Diction for Singers and Speakers. William Harkness Arnold.
The elements of French pronunciation are reduced to a few fundamental
principles, readily mastered.
1 25 A Head Voice and Other Problems. D.A. Clippinger. 1 25 A PRACTICAL TALKS ON SINGING Resonance in Singing and Speaking. Thomas Fillebrown, M.D.
An exposition of fundamentals, with breathing and vocal exercises and illustrations.
1 50 A Training of Boys' Voices. Claude Ellsworth Johnson.
A practical guide to the correct "placing" of boys' voices.
1 25 A Twelve Lessons in the Fundamentals of Voice Production. Arthur L. Manchester.
Presents clearly the fundamentals illustrated by exercises.
1 25 A EAR TRAINING, HARMONY AND COUNTERPOINT Ear Training for Teacher and Pupil. C.A. Alchin.
Designed to teach the pupil to think in tones, and so to sing,
name, write, and play what he hears.
1 50 A Intervals, Chords, and Ear Training. Jean Parkman Brown.
Exercises and examples in rudimentary harmony and ear training
for use in conjunction with piano study.
1 25 A Harmony. Sir John Stainer, Mus. Doc.
New edition of a standard text-book which presents the principles of
harmony with conciseness and lucidity.
1 50 A do. Paper 90 A Harmony Simplified. Francis L. York.
A practical text-book presenting in a concise manner the fundamental
principles of harmony, with non-essentials omitted.
1 50 A Manual of Harmony. Ernst Friedrich Richter. Trans. by J.C.D. Parker.
A practical guide to the study of harmony.
2 00 A Harmonic Analysis. Benjamin Cutter.
Teaches one to analyze the harmonic structure of both classic
and modern music.
1 50 A Counterpoint. Sir J. Frederick Bridge.
This book has freshness and plainness combined with thoroughness,
and must commend itself to young students and teachers.
1 25 A do. Paper 90 A Counterpoint Simplified. Francis L. York.
A concise text-book of formal counterpoint.
(Sequel to author's "Harmony Simplified").
1 50 A Guide to Musical Composition. H. Wohlfahrt. Tr. by J.S. Dwight.
On the invention of melodies, their transformation, development and suitable
accompaniment.
1 25 A FORM, INSTRUMENTATION AND ACOUSTICS Instrumentation. Ebenezer Prout, Mus. Doc.
A valuable guide and assistant to students who wish to gain a knowledge
of the proper blending of orchestral instruments, their compass, capabilities, etc.
1 50 A do. Paper 90 A Lessons in Music Form. Percy Goetschius, Mus. Doc.
A manual of analysis of all the structural factors and designs employed in
musical composition.
1 50 A Musical Forms. Ernest Pauer.
The students of musical form, and especially those who study composition,
will find this a very valuable and thorough work.
1 75 A do. Paper 90 A Sound and Its Relation to Music. Clarence G. Hamilton, A.M.
A handbook of acoustics as relating to music. Based on the latest
discoveries and experiments.
1 50 A CONDUCTING, HISTORY, MUSIC APPRECIATION AND DEFINITIONS Essentials in Conducting. Karl W. Gehrkens, A.M.
On personal requirements, technic of the baton, interpretation, rehearsing,
program making, etc.
1 75 A Outlines of Music History. Clarence G. Hamilton, A.M.
A compact, clearcut work for class use and the general reader.
Fully illustrated.
2 25 A Music Appreciation. Clarence G. Hamilton, A.M.
Based on methods of literary criticism, this unique text-book is for those
who wish to listen to music with quickened hearing and real understanding.
With 24 portraits, 28 diagrams and over 200 music cuts.
2 50 A Music Club Programs From all Nations. Arthur Elson.
Outlines the various schools from all nations with a rich series of programs
and over one hundred portraits.
2 00 A Some Essentials in Musical Definitions. M.F. MacConnell.
Covers the needed information on all points connected with musical theory, and
therefore of special value to piano, singing, violin, and organ
in public schools, 78;
by method, 79;
vibrato in, 80;
psychology of, 82-85;
sublimated speech, 83;
defined by Ffrangcon-Davies, 83;
freedom in, 84;
deterrents to, 84.
Sinuses, illustrated, 7;
pairs of, 8;
function of, 12.
Smile, Effect of, on pronunciation, 19.
Soft Palate, office of, 11, 52.
Speaking, obstacles to, 5;
tones of, identical with singing tones, 5;
difference from singing, 17;
expression in, 83.
Speaking Voice, misunderstood, 16;
connection with singing voice, 16;
how cultivated, 16;
identity with singing voice, 17;
and pronunciation, 18, 19.
Sphenoid Bone, 8.
Sphenoidal Sinuses, illustrated, 7;
pairs of, 8;
function of, 12.
Stage Elocution, criticism of Forbes-Robertson on, 19.
Teeth, function of, in use of voice, 12.
Throat, theory of sound in, 1;
a resonator, 6;
illustrated, 7;
relation to voice, 8.
(See Larynx and Pharynx.)
Throat Stiffness, most frequent obstacle to good singing, 74;
effect on larynx, 74;
difficulty in recognizing one's own, 74;
throat consciousness a common cause of, 74;
induced by lack of breath mastery, 75;
American hurry begets, 75;
voice culture a struggle with, 75;
remedies for, 75, 76.
Timbre of Voice, defined and explained, 7, 8.
Tone, defined, 45;
analyzed 45;
experiments to determine composition and resonance of, 46-50;
focusing of, 52;
vocal, a mental concept, 82;
whole man in, 83.
Tone Production, largely a matter of resonance, 56;
effect of right thought on, 56;
judged by naturalness and beauty of result, 56;
function of the ear in governing, 57;
cultivating normal, 57;
exercises to aid in, 58-73;
effect of throat stiffness on, 74;
natural, 77;
age to begin study of, 77.
Tone Quality, variety in, 6;
effect of emotion upon, 7, 75, 84;
relation of pronunciation to, 18;
how to secure purity of, 18, 19;
experiments to determine, 46-50;
and resonance, 5, 44, 45, 49, 50;
cause of nasal, 52-54;
beauty or harshness of, a criterion of judgment, 56, 57;
effect of throat stiffness on, 74-76;
dependent on mind and ear, 82;
related to personality of singer, 83;
natural and unnatural, 85.
Tongue, as an articulator, 6;
illustrated, 7;
connection with larynx, 9;
position of, in speaking and singing, 13;
tongue consciousness, 14.
Under Jaw, 10;
in ascending the scale, 10.
Upper Lip, in pronunciation, 19;
in practising, 68;
in articulation, 72.
Uvula, office of, 11.
Ventricle in the Larynx, 8.
Vibrato, 80, 81.
Vibrator, of the voice, 6;
of instruments, 43.
Vitalizing Text with Tone, the singer's mission, 18.
Vocal Cords, vibrator for the voice, 6;
in the larynx, 8;
described, 9;
not the principal cause of tone, 44, 45, 49;
necessity of free action of, 51.
Vocal Instrument, discussion of, 6-15;
beauty and complexity of, 6;
three elements of, 6, 7;
illustrated, 7;
relation of parts of, 8;
larynx, 8, 9;
vocal cords, 9;
epiglottis, 10;
pharynx, 10;
under jaw, 10;
soft palate, 11;
hard palate and teeth, 12;
nasal and head cavities, 12;
tongue, 13;
lips, 14;
nostrils, 14;
face, 15;
defects in, 85.
Vocal Tone, an audible mental concept, 82.
Voice Culture, opinions concerning, 2;
wrong methods of a generation ago, 3, 4;
cannot be developed mechanically, 4;
principles advocated, 5;
the right way the easy way, 5;
resonance an important factor of, 5, 43, 45, 50, 52, 54;
should begin in childhood, 77;
learned by imitation, 77;
Roger Ascham on, 77, 78;
in public schools, 78;
artistry in, 78, 79;
three periods of, 79;
application of essentials of, 79;
repose as a preparation for, 80;
the vibrato in, 80;
psychology of, 82-85;
personality in, 83;
freedom in, 84;
deterrents in, 84, 85.
Voice Placing, 51, 52, 56-73.
Voice Timbre, defined, 7, 8.
Vowel Sounds, 11, 18, 19;
singer's scale of, 20, 72;
each has its own pitch, 20;
lip position for, 20-22;
placing of, 52;
exercises for practice, 58-73.
Webster, Daniel, as a good speaker, 16.
Wheatstone, on pitch of vowel sounds, 20.
Willis, on pitch of vowel sounds, 20.
logo THE MUSIC STUDENTS LIBRARY
A series of Educational Text-books suited to the requirements of the average student and covering every essential branch of musical instruction.
Note:βUnless otherwise specified, books are bound in cloth.
PIANO Burrowes' Piano Primer. Frederic Field Bullard, Editor.An enlarged edition with pronouncing dictionary.
Paper
75 A Ears, Brain and Fingers. Howard Wells. 1 25 A Half Hour Lessons in Music. Mrs. Hermann Kotzschmar.
Class work for beginners. Practical for teachers and mothers. Illus.
1 25 A Interpretation of Piano music. Mary Venable.
Studies in the meaning of printed signs used in music, and their bearing
on the interpretation of standard works.
2 00 A Natural Laws in Piano Technic. Mary Wood Chase.
Presents the essential laws of a sound piano technic.
1 50 A Piano Teaching: Its Principles and Problems. Clarence G. Hamilton, A.M.
A practical book, written by a practical man to meet practical needs.
1 50 A ORGAN Primer of Organ Registration. Gordon Balch Nevin.
Numerous illustrations and a Dictionary of Organ Stops.
1 50 A VIOLIN How to Master the Violin. Pavel L. Bytovetzski.
A practical guide for students and teachers.
1 25 A How to Study Kreutzer. Benjamin Cutter.
What every violin teacher discusses and illustrates in the lesson room.
1 25 A VOICE ABC of Music. Auguste Mathieu Panseron.
(Ed. by N.C. Page.) A standard primer of vocalization.
1 50 A do. Paper 90 A Commonplaces of Vocal Art. Louis Arthur Russell.
The plain truths of vocal art presented in simple untechnical language.
1 25 A English Diction for Singers and Speakers. Louis Arthur Russell.
For all who pretend to refined or artistic use of the English language.
1 25 A French Diction for Singers and Speakers. William Harkness Arnold.
The elements of French pronunciation are reduced to a few fundamental
principles, readily mastered.
1 25 A Head Voice and Other Problems. D.A. Clippinger. 1 25 A PRACTICAL TALKS ON SINGING Resonance in Singing and Speaking. Thomas Fillebrown, M.D.
An exposition of fundamentals, with breathing and vocal exercises and illustrations.
1 50 A Training of Boys' Voices. Claude Ellsworth Johnson.
A practical guide to the correct "placing" of boys' voices.
1 25 A Twelve Lessons in the Fundamentals of Voice Production. Arthur L. Manchester.
Presents clearly the fundamentals illustrated by exercises.
1 25 A EAR TRAINING, HARMONY AND COUNTERPOINT Ear Training for Teacher and Pupil. C.A. Alchin.
Designed to teach the pupil to think in tones, and so to sing,
name, write, and play what he hears.
1 50 A Intervals, Chords, and Ear Training. Jean Parkman Brown.
Exercises and examples in rudimentary harmony and ear training
for use in conjunction with piano study.
1 25 A Harmony. Sir John Stainer, Mus. Doc.
New edition of a standard text-book which presents the principles of
harmony with conciseness and lucidity.
1 50 A do. Paper 90 A Harmony Simplified. Francis L. York.
A practical text-book presenting in a concise manner the fundamental
principles of harmony, with non-essentials omitted.
1 50 A Manual of Harmony. Ernst Friedrich Richter. Trans. by J.C.D. Parker.
A practical guide to the study of harmony.
2 00 A Harmonic Analysis. Benjamin Cutter.
Teaches one to analyze the harmonic structure of both classic
and modern music.
1 50 A Counterpoint. Sir J. Frederick Bridge.
This book has freshness and plainness combined with thoroughness,
and must commend itself to young students and teachers.
1 25 A do. Paper 90 A Counterpoint Simplified. Francis L. York.
A concise text-book of formal counterpoint.
(Sequel to author's "Harmony Simplified").
1 50 A Guide to Musical Composition. H. Wohlfahrt. Tr. by J.S. Dwight.
On the invention of melodies, their transformation, development and suitable
accompaniment.
1 25 A FORM, INSTRUMENTATION AND ACOUSTICS Instrumentation. Ebenezer Prout, Mus. Doc.
A valuable guide and assistant to students who wish to gain a knowledge
of the proper blending of orchestral instruments, their compass, capabilities, etc.
1 50 A do. Paper 90 A Lessons in Music Form. Percy Goetschius, Mus. Doc.
A manual of analysis of all the structural factors and designs employed in
musical composition.
1 50 A Musical Forms. Ernest Pauer.
The students of musical form, and especially those who study composition,
will find this a very valuable and thorough work.
1 75 A do. Paper 90 A Sound and Its Relation to Music. Clarence G. Hamilton, A.M.
A handbook of acoustics as relating to music. Based on the latest
discoveries and experiments.
1 50 A CONDUCTING, HISTORY, MUSIC APPRECIATION AND DEFINITIONS Essentials in Conducting. Karl W. Gehrkens, A.M.
On personal requirements, technic of the baton, interpretation, rehearsing,
program making, etc.
1 75 A Outlines of Music History. Clarence G. Hamilton, A.M.
A compact, clearcut work for class use and the general reader.
Fully illustrated.
2 25 A Music Appreciation. Clarence G. Hamilton, A.M.
Based on methods of literary criticism, this unique text-book is for those
who wish to listen to music with quickened hearing and real understanding.
With 24 portraits, 28 diagrams and over 200 music cuts.
2 50 A Music Club Programs From all Nations. Arthur Elson.
Outlines the various schools from all nations with a rich series of programs
and over one hundred portraits.
2 00 A Some Essentials in Musical Definitions. M.F. MacConnell.
Covers the needed information on all points connected with musical theory, and
therefore of special value to piano, singing, violin, and organ
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