The student voice - Info and Reading Options
an introduction to developing the singing voice
By Colin Baldy
"The student voice" was published by Dunedin Academic in 2010 - Edinburgh, it has 140 pages and the language of the book is English.
“The student voice” Metadata:
- Title: The student voice
- Author: Colin Baldy
- Language: English
- Number of Pages: 140
- Publisher: Dunedin Academic
- Publish Date: 2010
- Publish Location: Edinburgh
“The student voice” Subjects and Themes:
- Subjects: Studies and exercises - Singing - Singing, instruction and study
Edition Specifications:
- Pagination: xvi, 140 pages
Edition Identifiers:
- The Open Library ID: OL27790158M - OL20547175W
- Online Computer Library Center (OCLC) ID: 573397701
- Library of Congress Control Number (LCCN): 2010564846
- ISBN-13: 9781903765951
- ISBN-10: 1903765951
- All ISBNs: 1903765951 - 9781903765951
AI-generated Review of “The student voice”:
"The student voice" Table Of Contents:
- 1- Machine generated contents note: -- Section 1
- 2- Developing the voice -- -- 1.
- 3- How easy is singing? --
- 4- What is singing? --
- 5- Text, emotion, body --
- 6- Using the text --
- 7- emotional response --
- 8- Finding the text within ourselves --
- 9- body: the physical response -- -- 2.
- 10- blank canvas --
- 11- Looking after yourself --
- 12- Diet --
- 13- Preparing to sing --
- 14- Give yourself time --
- 15- Muscular memory --
- 16- What is a `varnished' voice and how does it arise? --
- 17- Can we remove the `varnish', and should we worry? --
- 18- Taking care at the start --
- 19- First steps --
- 20- Posture --
- 21- open throat --
- 22- Gentle stretching of the vocal folds (Exercises) -- -- 3.
- 23- concept of support --
- 24- diaphragm: some misconceptions, and its actual functioning --
- 25- Supporting from the abdomen rather than the diaphragm --
- 26- How tiring does singing need to be? -- -- 4.
- 27- Support in practice --
- 28- Exercise 4.1 --
- 29- Exercise 4.2 --
- 30- Exercise 4.3 --
- 31- Musical example 4.1 --
- 32- Releasing the breath --
- 33- Breath release in practice --
- 34- Using the back muscles --
- 35- Musical example 4.2 --
- 36- Exercising -- -- 5.
- 37- Placing the voice --
- 38- Resonance --
- 39- Locating resonating cavities --
- 40- Facial and head resonance --
- 41- Exercise 5.1 --
- 42- Chest resonance --
- 43- Amplifying the sound --
- 44- soft palate --
- 45- Avoiding a dropped soft palate --
- 46- What does a raised soft palate look like? --
- 47- Tongue position and the soft palate --
- 48- Tenor/baritone and soprano/mezzo-soprano problems --
- 49- What we hear and what we actually sound like --
- 50- Checking the position of the soft palate and the tongue --
- 51- bulk of the vocal folds --
- 52- Identifying a slightly dropped soft palate --
- 53- And a completely raised soft palate --
- 54- Creating overtones --
- 55- Placing and support --
- 56- Brighter sounds and chest resonance --
- 57- Breathy tone --
- 58- Vocal onset: starting the sound --
- 59- Exercise 5.2 -- -- 6.
- 60- Tongue and the Larynx --
- 61- Exercise 6.1 --
- 62- Problems arising from a habitual dark sound --
- 63- Supporting in the throat --
- 64- hard tone --
- 65- Good positioning of the tongue --
- 66- released larynx --
- 67- Tilting the larynx --
- 68- Exercise 6.2 -- -- 7.
- 69- falsetto and its importance to all voice types --
- 70- Exercise 7.1 --
- 71- Exercise 7.2 --
- 72- importance of this falsetto, and how it helps -- -- 8.
- 73- messa di voce, vocal registers and the passaggio --
- 74- Musical example 8.1 --
- 75- Vocal registers --
- 76- risks of breaking the voice into sections at an early age --
- 77- Moving into adulthood --
- 78- Developing the messa di voce: some excercises --
- 79- Moving from falsetto to full voice: the physiology --
- 80- Applying this in singing --
- 81- Musical example 8.2 --
- 82- Upper vocal range: the passaggio --
- 83- Marking -- -- 9.
- 84- Hearing your own voice --
- 85- Acoustic perception --
- 86- Another pair of ears --
- 87- need for patience -- -- Section 2
- 88- process of vocal training -- -- 10.
- 89- From child to adult --
- 90- Taking care of young voices -- -- 11.
- 91- Vocal pedagogy --
- 92- Singing in schools --
- 93- Children singing opera --
- 94- Vocal pedagogy through the ages --
- 95- Manuel Garcia --
- 96- Frederick Husler --
- 97- Jo Estill --
- 98- Conclusion -- -- 12.
- 99- Artistry in singing: using the text --
- 100- Good diction --
- 101- Exercise 12.1: thinking about vowels --
- 102- Case study --
- 103- Musical example 12.1 --
- 104- Understanding the text --
- 105- Singing in foreign languages --
- 106- meaning of the words --
- 107- Musical example 12.2 --
- 108- Text in opera --
- 109- Text in oratorio --
- 110- Using text in contemporary music -- -- 13.
- 111- Repertoire with purpose --
- 112- Repertoire or exercises? --
- 113- Pure vowels and a simple line --
- 114- Giuseppe Giordano: `Caro mio ben' --
- 115- Italian vowels --
- 116- Learning to sing in French --
- 117- Henri Duparc: `Extase' --
- 118- Singing with control --
- 119- Faure: `Claire de lune' --
- 120- Releasing tightness in the throat --
- 121- Wagner: `O du mein holder Abendstern' (and preceding recitative) --
- 122- Involvement and excitement --
- 123- Charles Gounod: `L'air des bijoux' --
- 124- Jules Massenet: `Va laisser couler mes larmes' --
- 125- passaggio --
- 126- Edouard Lalo: `Vainement, ma bien-aimee --
- 127- Growing the sound --
- 128- Donizetti: `Una furtiva lagrima' --
- 129- Handel arias --
- 130- Bach arias --
- 131- Imagination and choice of repertoire -- -- 14.
- 132- Performance: avoiding pitfalls --
- 133- Preparation --
- 134- Marking --
- 135- Will I be heard? --
- 136- Singing in choirs --
- 137- Coloratura --
- 138- Patter arias --
- 139- Releasing the breath --
- 140- Dealing with nerves in performance -- -- 15.
- 141- counter-tenor: a special case? --
- 142- historical background --
- 143- Castrati --
- 144- counter-tenor in the twentieth century --
- 145- vocal production of the counter-tenor --
- 146- Finding counter-tenors.
"The student voice" Description:
The Open Library:
This book is written for students of singing, Whilst primarily designed for undergrauate and graduate level students, it will also be of use to mature singers and to those already in the singing profession who want simply to keep their technique and knowledge alive. Over a successful career as a singing teacher for more than a quarter of a century, Colin Baldy has been frustrated by the lack of suitable reading materials aimed specifically at the student of the singing voice. He hopes that this will be a useful resource, not only to students, but also to their teachers, who undoubtedly, receive frequent requests for such a book. The book includes a certain amount of physiology, enough but not too much, with suggested exercises and methods for developing the correct use of that physiology. It suggests a suitable repertoire to run alongside the exercises, and contains a large amount of trouble-shooting advice. The author's intention is to encourage the singing student and to assist them in avoiding common pitfalls. It is also hoped that the book may help singers to identify vocal problems which they may already have developed. --Book Jacket.
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