ŚPIEWANIE TECHNIKI NARODOWE PREFERENCJE TONALNE

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KLIKNIJ ABY PRZEJŚĆ DO SPISU TREŚCI

KLIKNIJ ABY PRZEJŚĆ DO OPISU KSIĄŻKI

KLIKNIJ ABY ZOBACZYĆ INNE WYSTAWIANE PRZEZE MNIE PRZEDMIOTY ZNAJDUJĄCE SIĘ W TEJ SAMEJ KATEGORII

KLIKNIJ ABY ZOBACZYĆ INNE WYSTAWIANE PRZEZE MNIE PRZEDMIOTY WEDŁUG CZASU ZAKOŃCZENIA

KLIKNIJ ABY ZOBACZYĆ INNE WYSTAWIANE PRZEZE MNIE PRZEDMIOTY WEDŁUG ILOŚCI OFERT

PONIŻEJ ZNAJDZIESZ MINIATURY ZDJĘĆ SPRZEDAWANEGO PRZEDMIOTU, WYSTARCZY KLIKNĄĆ NA JEDNĄ Z NICH A ZOSTANIESZ PRZENIESIONY DO ODPOWIEDNIEGO ZDJĘCIA W WIĘKSZYM FORMACIE ZNAJDUJĄCEGO SIĘ NA DOLE STRONY (CZASAMI TRZEBA CHWILĘ POCZEKAĆ NA DOGRANIE ZDJĘCIA).

PEŁNY TYTUŁ KSIĄŻKI -
AUTOR -
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RODZAJ OPRAWY -
ILOŚĆ STRON -
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WAGA - KG (WAGA BEZ OPAKOWANIA)
ILUSTRACJE, MAPY ITP. -
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KLIKNIJ ABY PRZEJŚĆ DO WYBORU MINIATUR ZDJĘĆ

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English, French, German
and Italian Techniques
of Singing:
A Study in National Tonal Preferences and How They Relate to Functional Efficiency
by RICHARD MILLER
The Scarecrow Press, Inc. Metuchen, NJ. 1977
Plates 1 and 7 (see page viii) are used by permission of the Williams & Wilkins Co. , Baltimore, from Cunningham's Text-Book of Anatomy, 5th ed. , ed. by Arthur Robinson (New York: William Wood and Co. , 1919).
Plates 2, 14, 17, and 18 are used by permission from Atlas of Human Anatomy, vol. n, by Johannes Sobotta and J. Playfair McMurrich (New York: G. E. Stechert and Co., 1928).
Plates 3, 10, 13, 15, and 16 are used by permission from Gray's Anatomy, 35th British ed. , ed. by Robert Warwick and Peter Williams (London: Longmans, 1973).
Plates 4, 5, and 9 are from Human Anatomy, ed. by Henry Morris (Philadelphia: P. Blakiston, Son & Co., 1893).
Plates 6 and 8 are used by permission from Integrated Anatomy and Physiology, 3d ed., by Carl C. Francis and Gordon L. Farrell (St. Louis: C. V. Mosby Co., 1957).
Plates 11 and 12 are from Hand-Atlas of Human Anatomy, 5th ed., by Werner Spalteholz (Philadelphia: J. B. Lippincott Co., n. d.).
This study is dedicated to the many theater colleagues who over the years have discussed national approaches in singing with me, and to those numerous English, French, German and Italian teachers of singing who so generously shared their studios and their methods with me. To some extent, I am but their amanuensis.

TABLE OF CONTENTS

Plates ix
Acknowledgments x
INTRODUCTION
Multiplicity of Tonal Ideals xiii
Purpose of This Study xv
Areas of Pedagogical Controversy xv
Information Regarding This Study xv
I. THE ATTACK
The Physical Action i
Garcia and Three Views on Attack 2
The German School 4
The French and Italian Schools 6
The English School 6
Stylistic Demands and the Attack 6
H. THE MECHANICS OF BREATH MANAGEMENT
Conceptual Perception 7
The Respiratory Apparatus 7
The Lungs 7
The Thoracic Cage 7
The Intercostal Muscles 8
The Diaphragm 9
Muscles of the Abdomen 11
Dorsal and Other Accessory Respiratory Muscles 14
Clavicular Breathing 18
Diaphragmatic Control 20
m. BREATH MANAGEMENT TECHNIQUES OF THE GERMAN SCHOOL
Low Dorsal Breathing 22
Gluteal-Pelvic Contraction 24
Low Diaphragmatic Fixation 26
Epigastric Distention 27
Hypogastric Distention 27
Stauprinzip 28
Induced Exhalation 29
Minimal Breath System 30
IV. BREATH MANAGEMENT TECHNIQUES IN THE ENGLISH SCHOOL
Upper Dorsal Breathing 32
Fixed Diaphragmatic Breathing 35
Elevated Chest and Contracted Abdomen 36
Costal Arrest 38
V. BREATH MANAGEMENT TECHNIQUES IN THE FRENCH AND ITALIAN SCHOOLS
The French School 39
Natural Breathing 39
The Italian School 40
Appoggio 41
VI. TECHNIQUES OF VOWEL FORMATION IN SINGING
Acoustic Properties of the Vocal Tract 45
The German School 46
Fixed Buccopharyngeal Principle 46
Buccal Rounding 47
Preferred Vowels for Vocalization 47
Equalization of Vowel Sounds 48
The French School 48
Buccal Posture 49
The Vocalizing Vowel 49
Labial Mobility 49
The English School 50
Jaw Function 50
The Preferred Vowel 52
The Italian School 55
Relationship of Speech and Song 55
Vocalizing Vowels in the Italian School 56
VH. TECHNIQUES OF RESONANCE IN SINGING
Resonator Combining 58
The Buccopharyngeal Muscular System 60
The German School 63
Role of the Pharynx 63
Stimmbildung 65
Posterior Sensation 67
Kopfstimme 70
The French School 76
Role of the Mask 76
Elevated Tongue 77
The English School 77
Cathedral Tone 77
The Italian School 78
Gola aperta 79
Voice Placement 79
Impostazione and Appoggio 80
Timbre Terminology Within the Italian School 81
Vin. LARYNGEAL POSITIONING
The Elevated Larynx 84
The Depressed Larynx 85
The Stabilized Larynx 92
IX. VIBRATO AND NATIONAL TENDENCIES
Stylistic Uses 93
Physical Factors 93
The Italian School 96
The German School 96
The French School 97
The English School 98
X. VOCAL REGISTRATION AND NATIONAL ATTITUDES
Register Transition and Muscular Function 99
Voce di petto 103
Falsetto 105
Voce finta 117
Voce di testa 118
Bell Register 119
Male and Female Register Parallelisms 120
Summary of Register Categories 123
XI. REGISTRATION EVENTS AND VOICE CATEGORIZATION
The Approximate Passaggi of the Male Voices 129
The Approximate Passaggi of the Female Voices 130
Chest, Mixture and Head in the Female Voice 131
XII. VOWEL MODIFICATION
The German School 137
The Italian School 138
The French School 139
The English School 140
The Even Scale 141
Vowel Modification Guidelines 142
Xni. THE SOPRANO VOICE
The German School 143
The Italian School 145
The French School 147
The English School 148
XIV. THE MEZZO AND CONTRALTO VOICES
The German School 152
The French School 153
The Italian School 154
The English School 155
XV. THE TENOR VOICE
The French School 156
The Italian School 157
The German School 160
The English School 163
XVI. THE BARITONE AND BASS VOICES 165
The French School 166
The German School 168
The Italian School 170
The English School 171
XVn. THE ROLE OF LANGUAGE IN NATIONAL
PEDAGOGIES 173
Italian as a Language for Singing 174
French as a Language for Singing 178
German as a Language for Singing 181
English as a Language for Singing 183
Singing Foreign Languages 186
XVm. NATIONAL TEMPERAMENT AND VOCAL
IDEALS 188
XIX. INTERNATIONAL TONAL IDEALS 195
XX. THE NORTH AMERICAN SINGER AND THE NATION SCHOOLS 201
Chapter Notes 2Q7
Appendices:
I. Institutions Visited 213
II. IPA Symbols Used 215
Bibliography 216
Index 239

PLATES

1. Cavity of the larynx, as seen by means of the laryngo-
scope. A. Rima glottidis closed. B. Rima glot-tidis widely opened.
2. Muscles of the larynx. Top, the muscles of the pos-
terior surface of the larynx. Right, the crico-thyroid muscle viewed from the left side and somewhat in front. Bottom, the muscles of the larynx viewed from the left side.
3. A series of diagrams to show different positions of the
vocal folds and arytenoid cartilages.
4. Anterior view of the lungs.
5. Bony thorax, anterior aspect.
6. Intercostal muscles of the right chest wall.
7. The diaphragm, with muscles and nerves of the posteri-
or wall.
8. Deep muscles of the abdominal wall.
9. First layer of the muscles of the back.
10. Superficial muscles of the back.
11. Muscles of the trunk.
12. Muscles of the chest.
13. Muscles of the front of the neck.
14. The cavity of the mouth.
15. Muscles of the tongue and pharynx.
16. Interior of the pharynx.
!7. The muscular wall of the pharynx viewed from the right side.
The pharynx with the constrictor muscles behind.

INDEX

Abdomen
action of, in appoggio, 41-43
anatomy of, 11-13 (plate 8), 14
in coughing, 13
in sitting and standing, 41
inward movement of, 30, 35-37
outward and downward movement of, 9, 21, 22, 26-29,
30 Acoustical properties of the vocal tract, 45-46, 50, 53, 55,
59, 70, 73, 139, 174, 181 "Adam's apple", 127, 165
Agostoni, Emilio, The Respiratory Muscles, 11 Aikin, W. A. "Singing, " Grove's Dictionary of Music and
Musicians, 51-52 Anal orifice, 26 Anterolateral muscles, 14
appoggiare (appoggiarsi in^ petto, in^ testa), 41, 79, 80, 81 appoggio, 41-44, 79, 80, 146, 19 8 Armin, George, Von der Urkraft der Stimme, 28 Arytenoid cartilages, movements of, 4 (plate 3), 118 Arytenoid muscles, 3 (plate 2), 4 (plate 3), 5 Atemstu'tze, 21
attacco (l'attacco della voce, i'attacco del suono), 6 Attack
aspirated, 2, 5, 6
Garcia and the, 2, 4, 6
glottal, 2, 4, 6
hard, 4-5
light cough as, 5
physical action in, 1, 4 (plate 3)
precise, 6
soft, 2, 5, 6, 73
stylistic influences on, 6
vibrato excluded from, 145
whispered, 73 ausgeglichene Vokale, 48
Back
anatomy of the, 15 (plate 9), 16 (plate 10)
breathing with the, 14, 17, 21, 22, 24, 30, 32-35, 43
sensation in the, 23-24, 31, 32, 34, 37, 42, 43
"singing with the back, " 23, 32-33, 34
spreading the, 22, 23, 24, 31, 32-35, 37, 42-43, 155 Baker, George, The Common Sense of Singing 185 bariton lyrique, 165, 166, 167 baritone, 165-172
categories of, 128, 131
comfortable speaking range of, 104
falsetto in light-voices, 108
passaggi events of, 123, 129 baritono drammatico, 129, 171 baritono lirico, 129, 170 Baroque, literature of the, 93, 150, 166 Baryton Martin, 129 Bass, 165-172
in choral singing, 148
in English oratorio, 91 Bass-baritone, 165 Bass-buffo, 168, 169 basse, 171 basso-buffo, 128 basso cantante, 129, 171 basso profondo, 129, 171 Bauchaussenstfltze, 21 Behnke, Emil, The Mechanism of the Human Voice; Voice,
Song and Speech, 112 bel canto, 106, 107, 108, 109, 110, 113, 114, 198, 203,
205
Bell register, 119-120, 126, 135, 136, 140, 147 Belting, 134 Bernac, Pierre, The Interpretation of French Song, 178,
179, 192, 193
Bertoni, Giulio, Prontuario di pronunzia e di ortografia, 177 bomba, 115
Boy treble voice, 148, 149, 150, 151 "Breaking" voice, 104, 125 Breathing, techniques of, in singing
belly, 21, 27
clavicular, 18, 33-35, 85
costal, 8-11, 18, 98
costal arrest (fixation), 32, 38, 203
diaphragmatic, 9, 18, 20, 125
deep, 14
delayed inhalation in, 29, 30
distended abdominal, 27, 144
dorsal, 14, 22-24, 32-35
epigastric distention in, 27
fixed diaphragmatic, 21, 32, 35-36, 203
forced, 14
gluteal-pelvic contraction in, 24-26
high, 40, 98, 151, 155
hypogastric distention in, 27
in appoggio, 41-44
induced exhalation in, 29-30
instinctive, 39-40
natural, 39-40, 44, 147
noisy, 18
nose, 43
"relaxation" in, 40
shallow, 40
silent, 43, 92
spontaneous, 13
Staufunktion in, 28
sterno-costal-diaphragmatic-epigastric, 41
temporal rate of inhalation in, 43-44
upper dorsal, 32-35, 96, 98 Breath support in singing, 7-44 passim Bronchi
anatomy of, 8 (plate 4)
as resonators, 59, 103
Browne, Lennox, Voice, Song and Speech, 112 Brustton, 77 Buccal cavity
anatomy of, 61 (plate 14), 64 (plates 15 & 16)
as resonator, 59, 60, 180
in yawn, 69
positions of, in singing, 45, 46, 48, 49, 50, 51-52,
56, 62, 69, 77, 135, 139, 143, 146, 155 Buccinator, 62, 64 (plate 15) Buccopharynx
anatomy of, 60, 61 (plate 14), 62, 63, 64 (plates 15 and 16), 66 (plate 17), 68 (plate 18)
fixed position of, 46, 47, 48, 56, 64, 65, 67, 152 Bu'hnenaussprache, 183 Buttocks, 14, 21, 43 By-noises, 73, 151, 163
Calvaria, 71
Campbell, Moran, The Respiratory Muscles 9, 13, 14, 33
34 Canadian singer, position of, 203
U.
"cantare come si^ par la, " 175
Cantilena, 110, 169, 177
Caruso, 5, 78, 91
Castrati, 106, 107, 109, 110, 115, 122, 123
"Cathedral tone," 77-78, 148, 163
"chanter dans te masque, " 76
Character alto, 133, 154-155
Charakter -bariton, 170
Chest (thoracic cage)
anatomy of, 7-8, 10 (plate 5), 11, 19 (plate 12) calculated collapse of, 28 elevation of, 33, 36-37, 158 heaving, 18 in lifting, 37
lowered posture of, 21, 26, 29, 31, 158 muscular connection of, with pelvis, 14, 25 muscular resistance in, 44 recoil of wall of, during expiration 11 stabilization of, in appoggio, 43 sternocleidomastoidal action with the, 89 Chest mixture, 131, 132, 133, 145, 147, 150, 154, 171 Chest voice, 104, 116, 118, 120, 121, 122, 123, 124, 129, 131, 133, 134, 135, 145, 147, 150, 152, 153, 154, 159, 162, 170, 171
chiaroscuro, 78, 79, 82, 96, 142, 159 Chin
elevation of, 84, 85, 158 pressure upon larynx, 87 "chi pronuncia bene, canta bene, " 177 Chondroglossus, 89
Choral singing, 148-149, 191, 201, 202, 203 Clavicles
as auxiliary muscles of breathing, 18, 33, 85 in action with shoulder muscles, 33-35, 40, 89 Coccygeus
in relation to levatores ani, 25-26 opposition to intra-abdominal pressures, 26 Coloratura soprano, 83, 135, 143, 145, 146, 147, 149 colpo della glottide (colpo cU glottide), 2, 6 "come si par la, " 56 "comme jDn parle, " 76 Constrictor pharyngis inferior, 62, 64 (plates 15 & 16),
68 (plate 18) Constrictor pharyngis medius, 62, 64 (plate 15 & 16), 68
(plate 18), 89
Constrictor pharyngis superior, 62, 64 (plates 15 & 16), 68 (plate 18)
Continental approach to the adolescent male voice, 150-151 Contralto, 152-155
in oratorio, 91, 172
passaggi, 122, 123, 130-131, 133, 135, 136 Control-loop theory, 95-96 Cooper, Martin, French Music from the Death of Berlioz to
the Death of Faure, 179-180
Cordal approximation, 1, 2 (plate 1), 4, 5, 30, 59, 97, 102, 103, 107-108, 117. See also Attack; Glottis Coughing
abdominal muscles in, 13
attack in light, 5
latissimus dorsi in, 14
Counter-tenor, 110, 123, 151, 163, 164, 198 coup de^ glotte, 2, 6
Cover (covering), 126, 131, 138, 140, 142, 159 Cricoarytenoid muscles
adduction activities of lateral, 1, 3, 4 (plate 3)
movement of, 1, 3 (plate 2), 4 (plate 3), 120, 134 Cricoid cartilage, 3 (plate 2), 62, 102-103 Cricopharyngeus, 62, 66 (plate 17)
Cricothyroid muscles, 1, 3 (plate 2), 4, 19 (plate 13), 64 (plate 15), 66 (plate 17), 94, 102, 103, 118, 120, 134 cupo, 82, 142
"dans la gorge, " 160
"dans le masque, " 76
Deckung, 82, 137-138, 139, 168, 169, 170
Diaphragm
actions of, 20, 23, 24, 26, 27, 33, 35, 36, 38, 41, 80, 125
anatomy of, 9, 11-12 (plate 7)
Diaphragmatic-epigastric interaction, 27, 35-36, 38, 42 Diction, 53, 54, 55, 56, 80, 151, 179, 185, 186 Digastric, 19 (plate 13), 68 (plate 18), 89 do di petto, 111, 112 Dorsal see Back Dramatic baritone, 165
Dramatic soprano, 131, 132, 144, 145, 147, 151 Dramatic tenor, 128, 131, 163 Duey, Philip, Bel Canto in Its Golden Age, 106 Duftigkeit, 71, 83, 160, 197 Duprez, Gilbert, 111, 112-113, 114 Dynamic level
breath mixture related to, 151
focus and, 80
ideal quality in piano and forte in, 75, 80-81
Kopfstimme and, 116
piano, as developed through soft attack, 5
requirement, in nineteenth century literature, 114
vibrancy maintained in pianissimo, 74, 143
voce finta and, 117
vowel differentiation and, 56
Echo voice, 120; see also Bell register
Egenolf, Heinrich, Die menschliche Stimme; ihre Erziehung.
Erhaltung und Heilung, 188
Epigastric-thoracic muscular interaction, 25, 27, 38, 43 Epigastrium
contraction of, 37-38, 163
distention of, 27, 28
internal-external balance in musculature of, 42-43 Even scale (equalized scale), 48, 110, 119, 124, 135, 139,
140, 141-142, 152, 161 External intercostals
anatomy of, 6 (plate 10), 8, 9, 10
as elevators of the ribs, 9, 38 External oblique, 12, 13 (plate 8), 15 (plate 9), 16 (plate
10) External thyroarytenoids, 3 (plate 2)
Fach (Fa'cher), considerations of, 127, 130, 131, 144, 145,
Falsettierung, 161 falsetto
and female voice, 118, 120, 122, 143
bel canto and, 108
counter-tenor and, 123, 151, 163-164
Garcia and, 106
head voice and, 106, 121, 122
historical survey of, 105-117
in cantilena and fioritura, 110
male voice and, 124, 126, 151, 158, 163-164
Mancini and, 106
passaggio and registration related to, 119, 124, 125
reinforced, 108, 109, 161
Tosi and, 106
voce finta compared with, 118, 119, 158
vowel-modification and, 139 Fauces, isthmus of, 60, 61 (plate 14), 62, 72
Feigned voice see Voce finta
Fields, Victor A., "Review of the Literature on Vocal Registers, " 100
Fistelei, 161
Fistelstimme, 161
fioritura, 110, 176
Flageolet register see Bell register
flotenahnlich, 71, 149
Flotentone, 74, 143
flute registre see Bell register
Focus, 45, 69, 74, 80, 81, 91, 154, 161, 168
"forcing, " 103, 159
forehead, 71, 71, 73, 78
Fundamental tone, 45-46, 57, 58, 59, 79, 96, 142, 146; see also Upper partials
Garcia, Manuel, Hints on Singing, 124; Report on the Memoir of the Human Voice, 86
and female falsetto, 117
and low posture of the larynx, 86, 87, 91
and register blending, 124-125
and registro ^tt falsetto-testa
and the attack, 2, 5, 6
Gedda, Nicolai, Interviewed by John Higgins, cited, 76 gedeckt, 138 gehauchte Einsatz, 4, 5 gemischtes Falsett, 161 Glossopharyngeus, 62, 66 (plate 17) Glottis see also Attack; Cordal approximation
closure of, 1, 2 (plate 1), 4 (plate 3), 5, 102, 103, 145
in whispering, 5
independent function of, 63
reduction of tension at, 31
resistance of, 18, 28, 31, 158
stroke of, 4, 5, 6 Glottisschlag, 4, 5 Gluteal-pelvic contraction, 24-26, 2 8
Gluteus maximus, 15 (plate 9), 16 (plate 10), 17, 24, 25 Goat voice, 98 gola aperta, 79
Greene, Harry Plunket, Interpretation in Song, 50 Groaning utterance (grunt), 28, 29 Growl register, 125
Hargens, C. W. An Interdisciplinary Index of Studies in
Physics, Medicine and Music Related to the Human
Voice, 31
harter Einsatz, 2, 4 Head mixture, 131, 132 Head posture, 40, 84, 90, 158 Head sensation, 44, 118, 119, 121, 135 Head voice, 5, 70, 71, 81, 113, 114, 118, 120, 121, 122,
123, 125, 134, 135, 147, 150, 152, 153 Heaton, Wallace. An Interdisciplinary Index of Studies in
Physics, Medicine and Music Related to the Human
Voice, 31.
Heavy mechanism, 103, 118, 124, 132, 133, 134, 159, 162 Heldenbariton, 170 Heldentenor, 29, 129, 157, 160 Henderson, W. J., Early History of Singing, 101 heroic technique, 5, 6, 29 Higgins, John, Interview of Nicolai Gedda in The Times
(London), 76
hochdramatische Sopran, 144, 145 hohe Quinta, 120
Humeris, in relation to latissimus dorsi, 34 Husson, Raoul, La voix chantele, 87 influence on French pedagogy, 190 low laryngeal position considered by, 87 phonation in absence of air currents investigated by,
30-31 Hyoid bone, 3 (plate 2), 66 (plate 17), 68 (plate 18), 77,
85, 89 Hypoglossus, 19 (plate 13), 64 (plate 15), 66 (plate 17), 89
Ibos, Guilliaume, 87, 91
rimpostazione della voce, 79, 80
rimpostazione deH'organo fonatore, 79
Imposto, 79; see also Placement
Infrahyoid muscles, 87
ingolato, 160
Intercostal muscles
action of, 8-9, 11, 23, 24, 26, 36, 38 anatomy of, 8, 9, 10 (plate 6), 17 (plate 11)
Internal Congress for the Training of Musicians, 22
Internal oblique, 10 (plate 6), 12-13 (plate 8), 16 (plate 10), 17 (plate 11)
Internal thyroarytenoids, 134
Interosseus internal intercostals, 9
Irish tenor, 129, 155
Japanese singer, position of, 205-206 Jaw
action of, 50-54 passim, 180
anatomy of, 66 (plate 17)
distended, 50, 54, 56, 89, 98, 151, 155, 186
in mastication, 52, 53
weight of, 89
jugendliche dramatische Sopran, 144, 145, 146 jugendlicher Heldentenor, 161, 162
Kemper, Josef, Stimmpflege, 48 Kenyon, John S., "Pronunciation, " 45 Klein, Herman, The Bel Canto, 124 Knack laut, 4 Knodel, 75, 160 Kopfigkeit, 73, 74, 75 Kopfresonanz, 72, 75
Kopfstimme, 5, 71, 73, 78, 81, 88, 97, 116, 144, 160, 162
Lamperti, Francesco, A Treatise on the Art of Singing,
106-107
Lamperti, Giovanni Battista, 44, 80-81 langue d'oc, 179 langue d'oTl, 179 Large, John, "Towards an Integrated Physiologic-Acoustic
Theory of Voice Registers," 99 Laryngeal prominence see "Adam's apple" Laryngo-buccopharynx
anatomy of, 61 (plate 14), 64 (plate 16)
as a resonatory mechanism, 55 Laryngopharynx, 59, 64 (plate 16), 79 Larynx see also Glottis
anatonTy" o7T~ 1, 2 (plate 1), 3 (plate 2), 4 (plate 3), 89
"anchoring" the, 92
depressed, 84-92, 137, 138, 162, 168
elevated, 84, 97-98, 104, 117, 158
intrinsic muscles of, 137, 150, 164
ossification of, 96
prominence of, 123, 127, 136, 165
pubertal changes in, 116, 123
stabilized, 92
vertebral alignment of, 87 Latissimus dorsi, 15 (plate 9), 16 (plate 10), 17 (plate 11)
action on thorax, 14
as shoulder muscle in clavicular breathing, 34 contraction of, 14 leggiero see tenore leggiero
Levator scapulae, 16 (plate 10), 17, 19 (plate 13), 35 Levator veli palatini, 62, 64 (plates 15 & 16), 66 (plate 17) Levatores ani, 25, 26
Levien, John Newburn, Some Notes for Singers, 34 Light mechanism, 103, 118, 124, 132, 133, 134 Lips, 45, 49, 51, 59, 71, 78, 84 Loiseau, Georges, Notes sur le chant, 88 "London sound," the, 150
Lower middle register, 123, 125, 131, 132, 133, 134, 135 Lower voice, 124, 131, 134, 135, 145, 164, 168 Lungs
anatomy of, 7, 8 (plate 4) expansion of, 11, 21, 44 volume of, 11, 18, 22, 26, 34, 38, 42, 44 lutte vocale, 42
lyric baritone, 128, 157, 165, 167, 170 lyric soprano, 74, 143, 144, 146, 147, 149, 151, 153 lyric tenor, 157, 163 lyrischer Bariton, 170
Malibran, Maria, 86, 114
Mancini, Giovanni Battista, Practical Reflections on the Art
of Singing, 106 Mandible see Jaw Mandibular sound, 155 Martienssen-Lohmann, Per Opernsanger, 74
opinion on Bariton and Deckung, 169 Mask/masque, 76, 147 Mastication, 52, 53 Maxillaries, 49, 135 melodie, 178, 192, 193
Mezzo-soprano, 122, 123, 130, 131, 133, 135, 152-155 Middle voice, 106, 121, 122, 123, 124 125, 133, 134,
135, 140, 141, 158, 159; see also voce intermedia Milner, Anthony, "The Sacred Capons," 109 Mischlaute (Mischung), 182 Mixed voice, 107, 124, 131, 133 Mouth see Buccal cavity Muscular antagonism
between neck and torso, 137 between pectorals and thorax, 33 in inefficient male registration, 104
of neck and trunk, 28, 37
reduction of, between head and torso, 117 Musical comedy, 134 Mylohyoid, 19 (plate 13), 89, 94 Mylopharyngeus, 62, 66 (plate 17)
Nagel, Wilhelm, Handbuch der Physiologie, 87 Nasal resonance, 29, 60, 76, 147 Nasality, 49, 75, 76, 147, 187 Nasopharynx
anatomy of, 64 (plate 16), 79
as a resonating cavity, 59
"natural" singing, 39-40, 44, 139-140, 147, 156 Neapolitan Opera School, 110, 149 Neck
anatomy of, 19 (plate 13), 89
and head, 158
and thorax, 37, 165
and trapezius, 33-34
and trunk, 41
as laryngeal support, 43, 90
extended, 32, 34
in clavicular breathing, 18
in Stauprinzip, 28 Nerve impulses, 11, 30, 94, 97 Newsom Davis, John, The Respiratory Muscles, 9 Nicolaus, Gertrude, Die Gesetzmassigkeit der richtigen Vokalbildung jeder Tonhdhe als Vorbedingung fur Scho'nheit und Dauer der Stimme, 87 Nose
as resonator, 59
in de Reszke's pedagogy, 76
inhaling through, 79 Nourrit, Adolphe, 111, 112-113, 114
Oblique arytenoid, 3
Omohyoid, 19 (plate 13), 89
Onset, 1, 6, 145; see also Attack
Open chest, 124, 131, 132, 133, 134
Open singing, 49, 137, 138, 140, 155, 157, 158, 163, 181;
see also voce aperta Open throat, 52-53, 67, 69, 72, 79, 134; see also gola
aperta
opera-buff a, 128 Oratorio, 6, 32
English bass in, 91, 172
English contralto in, 132, 172
English tenor in, 163
Handelian, 149
mezzo-soprano in, 155
solo singer in, 149, 150
tonal quality in choruses of, 148 Oropharynx, 60, 61, 62, 79
anatomy of, 61 (plate 14), 64 (plate 16)
as resonating cavity, 59
isthmus of the, 60, 61 (plate 14)
wall of, 64 (plate 16), 89 Oscillation, 94, 95, 162 "ouyrez la bouche, " 76 Overtones see Upper partials
Paget, Richard (Sir), Human Speech, 58
Palatine aponeurosis, 62
Palatoglossal arch, 60, 61 (plate 14)
Palatoglossus, 61, 63, 64 (plate 16)
Palatopharyngeal arch, 60, 61 (plate 14), 63
Palatopharyngeus, 60, 62, 64 (plate 16)
parlando, 169, 177, 178
"participez ayec la bouche, " 76
passaggio, 104, 117, 119, 123, 129, 130, 131, 132, 137,
139, 140, 152, 158, 159; see also primo passaggio;
secondo passaggio Pasta, Giudita, 114
Pectoral muscles (pectoralis major, pectoralis minor), 14, 15
anatomy of, 19 (plate 12)
as part of total supportive framework, 43
exercises for the development of, 37
muscular antagonism of, 33
with neck and trapezius, 34 Pelvis
distended, 28
firmed, 14, 21, 23, 24
in appoggio, 43
in hypogastric breathing, 28
muscular balance of, with buttocks, 25
muscular balance of, with thorax, 25
tilted, 24
Perineal body, fixated by levatores ani, 26 petit registre, 120, see also^ Bell register Pfeifestimme, 120, 143 "pharyngeal ring, " 69
Pharynx see also Buccopharynx
anatomy of, 61 (plate 14), 64 (plate 15 & 16), 66 (plate 17), 68 (plate 18)
as resonator, 60
cavity of, 46
enlargement of, 63, 64, 65, 67, 69, 70, 75, 139, 144, 152
low jaw posture and, 52-53
muscular action in shaping of, 62, 63
narrowed, 49, 97-98
spread, 72, 137, 160, 162, 168 piano allemand, 71 piano tedesco, 71, 74
Piccolo range, 120; see also Bell register Pitch, 53, 59
buccal position in ascending, 138, 139
fluctuation of, as corrective mechanism, 95
frequencies of fixed, 73
in "cathedral" tone, 148
intrinsic laryngeal action in ascending, 118, 120
upper partials in ascending, 137, 140 Placement see also l'imposto; Resonance
and appoggio technique, 79
coordination of breath and, 80
facial, 77, 144, 147
forehead, 72
forward, 59, 76, 77, 78, 110, 144, 147
head, 119
Hinterkopf, 72
imagery of, 58, 59, 71, 72, 101
in Kopfstimme, 70
in lowered laryngeal position, 88
pedagogic controversy regarding, 59-60
pharyngeal, 63, 65
posterior, 67, 69-70
sensation, 58, 147 Platysma, 89
Pleasants, Henry, The Great Singers, 115 "plus en avant, " 76, 147
Posterior cricoarytenoids, 3 (plate 2), 4 (plate 3) Posture, 21, 24, 25, 28, 33, 37, 38, 39, 41, 43, 44, 85 Primitive cry, 28, 134 primo passaggio, 104, 117, 123, 128, 129, 138, 139, 164;
see also passaggio
Prinzip des Nach-hinten-Singens, 67, 71 pronuncia aperta, 176
Puberty, developmental aspects of, 116, 120, 122, 123, 164
"purity" of vocal quality, 149, 150, 161, 163 Quadratus lumborum, 12 (plate 7), 14
Rami, 49, 50, 51, 52
Rectus abdominus, 10 (plate 6), 12, 13, 17 (plate 11), 25
Recurrent nerve impulses, 30, 156
Registration, 99-126, 127, 134, 136, 142, 156, 159, 164
registre de flageolet, 120, 126, 147; see also Bell register
registro jii falsetto -testa, 106
Resonance in singing, 41, 45-46, 50, 53, 56, 58-83, 59, 89, 91, 101, 103, 104, 137, 139, 140, 147, 149, 151, 155, 168, 171, 173, 183
Respiration, 14, 7-17 passim, 25-26, 33-35; see also Breathing
Reszke, Jean de, 76
Rhomboideus major, 15 (plate 9), 16 (plate 10), 17, 34-35
Rhomboideus minor, 16 (plate 10), 17, 34-35
Ribs
action of, 9, 11, 14, 18, 21, 22, 23, 24, 25, 26,
29, 30, 32, 33, 35, 36, 38, 71, 42, 94 anatomy of, 8, 10 (plates 5 & 6), 13 (plate 8) Ricci, Luigi, 198
Rima glottidis, 2 (plate 1); see also Glottis Rock, 134
Royal Academy of Music, 35 Royal College of Music, 35 Rubini, Giovanni Battista, 115 rundlippige Vokale, 47 Rundung, 144
Sacrospinalis, 14
sanft (Sanftheit), 17, 73
Sant'Amborgio, G., The Respiratory Muscles, 11
Scaleni (scalenus anterior, medius and posterior), 14, 19
(plate 13), 34
Scha'delgefuhl (ScMdelstutze), 72 Schnarregister, 125 Schnutzen mac hen, 47 schwa, 141 schwarzer Bass, 168 schwebender Ton, 71, 74, 144 schwerer Heldentenor, 161, 162
Schwindelstimme, 161
Seashore, Carl E. "Psychology of the Vibrato in Voice and
Instrument," 93 secondo passaggio, 104, 105, 116, 117, 118, 119, 120, 121,
123, 128, 129, 134, 135, 138, 158 serioser Bass, 168, 171 Serratus anterior, 14, 16 (plate 10), 17 Serratus posterior superior, 14, 34 Shakespeare, The Art of Singing, 32 Shoulders
anatomy of, 15 (plate 9), 16 (plate 10)
in appoggio, 41
in clavicular breathing, 18
in inhalation, 33
in shallow breathing, 40, 151
raised, 37, 163
rib-raising actions of the muscles of, 33 Siebs Deutsche Aussprache, 183 Sigh
combined with the yawn, 88 Simpson, John, et al., A Synopsis on Otorhinolaryngology,
92
Sinuses as resonators, 60, 147 Slater, David D., Vocal Physiology and the Teaching of
Singing; A Complete Guide to Teachers, Students and Candidates for the A. R. CM. , L.R.A.M., and All Similar Examinations, 35 Smile posture, 47, 49, 79, 135, 145 Smith, Michael, "The Effect of Straight-tone Feedback on the
Vibrato," 94
Soft palate, 61 (plate 14), 62
Soprano, 121, 122, 123, 130, 133, 135, 143-51, 161 soprano lirico, 146, 151 soprano lirico spinto, 132, 146 soubrette, 135, 143, 146, 147, 149 Soul, 134 Speech
American-Appalachian, 185
and yawning, 90
and yelling, 134
comfortable range in, 104-105, 121, 126, 166
continuous mobile process in, 184
glottal postures in, 5, 63
primitive functions and, 65
production of the sounds of, 45-46, 92
relationship of, to singing, 38, 47, 53, 55-56, 59, 63, 88. 100. 166. 175. 176. 177. 178. 180, 183, 186
standard English, 184, 185
vibratory sensation in, 104 Sphincteral closure, 24, 25 Spielbariton, 128, 170 Spielbass, 168, 169 Spieltenor, 128, 160, 161, 168 Sprengeinsatz, 2, 5, 6
Stauprinzip (Staufunktion), 5, 22, 28, 29, 88, 198 Stehbass, 168 Stelleinsatz, 4
Sternohyoid, 19 (plate 13), 89 Sternociavicular joint, 89
Sterno-costal-thoracic action, 30, 36, 37, 38 Sternohyoid, 19 (plate 13)
Sternomastoids (sternocleidomastoids), 14, 15, 17, 34 anatomy of, 15 (plate 9), 19 (plate 13) assistance of, in clavicular breathing, 34, 85 supportive to laryngeal mechanism, 89, 117, 156 with elevated thorax, 89 with pectorals, 34 with trapezius, 34 Sternum
anatomy of, 10 (plate 5)
posture of, 18, 21, 26, 27, 33, 36, 38, 41, 42, 43,
89, 159-160 stilo drammatico, 159 stilo grazioso, 159 Stimmbildung (Stimmaufbau), 65 Stirnresonanz, 71, 72 Stockhausen, Julius, Gesangsmethode; Gesangstechnik und
Stimmbildung, 86 Stohnlaut, 28 Stomach, 34, 37
Straight-tone, 93, 94, 97, 98, 143, 150, 161, 163, 169 Strohbass, 125 Stiitze, 21
Styloglossus, 19 (plate 13), 64 (plates 15 & 16), 66 (plate
17), 68 (plate 18), 89 Stylohyoid ligament, 64 (plate 16), 89
Stylohyoid muscle, 19 (plate 13), 64 (plate 15), 68 (plate 18), 89 Styloid process, 68 (plate 18), 89 Stylopharyngeal muscles, 62, 64 (plates 15 & 16), 66 (plate
17), 68 (plate 18) Subclavius, 14 suono incartato, 74 Suprahyoids, 87, 89 "sur le masque, " 76
"sur les levres, " 76 Swallowing (deglutition), 62, 92
Teeth
displayed, 146
hissing sounds produced at, 59
prop inserted between, 52
separation of back, 51
tongue engaging lower front, 69, 77 Temporal bone, 89
Tenor, 121, 122, 123, 128, 156-164, 165 tenor leger, 156, 157, 158, 160 tenor lyrique, 157 Tenorbuffo, 160, 161, 168 tenore buffo, 138, 165 tenore drammatico, 160, 162
tenore leggiero, 85, 117, 128, 157-158, 159, 160, 165 tenore lirico, 129, 159 tenore lirico spinto, 129, 156, 157, 159, 161, 162, 164,
170
tenore robusto, 129, 160, 162 tenore spinto, 129, 159 tenorino, 117, 129, 157, 161, 163, 164 tensor veli palatini, 62, 64 (plate 16) tessitura, 144, 148, 152, 159, 166, 167, 169 Thick mechanism see Heavy mechanism Thin mechanism see Light mechanism Thorax see Chest
Thyroarytenoids, 1, 4, 103, 105, 118, 119, 120 Thyroid cartilage, 3, 62, 63, 102, 103, 118, 119, 165 Thyropharyngeus, 62 tiefe Stellung der Kehle, 87 "tilt and tuck method," 24 Tongue
anatomy of, 62, 64 (plate 15)
elevated, 49, 77, 97-98
in articulation, 52, 56
movements in speech, 45, 69, 180, 184 tono sporco, 139 Torso
anatomy of, 13, 17, 19
function and posture of, 14, 28, 30, 37, 38, 40, 41,
64, 65, 85, 117, 160, 163, 165 Tosi, Pietro Francesco, Observations on the Florid Song,
106 Trachea, 3, 14, 59, 60, 103
Transverse arytenoids, 3
Transversus abdominis, 12, 13 (plate 8)
Trapezius, 14, 15, 16, 17, 32, 33-34, 90
tremolo, 94, 98, 162, 163
troppo drammatico, 159
troubadours, 179
trouveres, 179
trunk, 17, 24, 25, 26, 27, 28, 29, 31, 32, 41
Tutentone, 75
Ugolini, Francesco, Prontuario di pronunzia e di ortografia,
177
Upper middle register, 125, 129, 132, 133, 134, 135 Upper partials
and fundamental tone, 57, 58, 59, 142, 146
in ascending pitch, 137
in bell register, 146
in buccal closure, 135
in chiaroscuro, 96
in complex voice-tone, 46, 59, 72, 73
in il2 d± petto, 111
in Kopfstimme, 116
in shrill voice, 10, 95, 146
in the dull voice, 69 Upper voice, 124, 129, 134, 135, 143, 145, 146, 152,
153, 158, 159, 164, 168, 169, 170 Uvula, 61 (plate 14), 62, 69
Velocity passages, 143, 145
Velum, 51, 61 (plate 14), 180; see^ also Uvula
Vennard, William, Singing; The Mechanism and the Technic,
33, 60, 103 Verbrustung, 162 verismo, 191, 197 Viardot-Garcia, Paolina, 86
Vibrato, 93, 94-95, 96, 97-98, 143, 144-145, 161, 168 Vilganen, A. A. "Motor Activity in Breathing, " 11 Vocal tract see Acoustical properties of Vocalis muscles, 133, 138 voce aperta, 84, 142, 156 voce aperta in testa, 72 voce chiara, 81, 96 voce chiusa, 80, 81, 82, 138, 142 voce coperta (suono coperto), 138, 139, 158 voce di^ campanello, 120, 146
voce di^ capra, 98
voce (tt petto, 80, 103, 105, 111
voce ctt testa, 70, 71, 74, 75, 80, 81, 103, 105, 106, 107,
108, 109, 110, 114, 118, 120, 146 voce finta, 71, 74, 85, 116, 117, 118, 119, 139, 143, 158,
161
voce intermedia see zona intermedia voce mista, 140 voce oscura, 82, 91, 96 voce piena, 140 voix blanche, 140, 147 voix de tete, 71, 81 voix mixte, 125, 140 Vokalphoneme, 183 Vornesingen, 71-72, 183 Vowel modification, 48, 52, 126, 131, 137-142, 164
Webb, R. K., Modern England from the Eighteenth Century
to the Present, 184 Weichheit, 74, 144 Whispering, 5, 73
Yawn, 69, 70, 87, 88, 90 Yelling, 104, 111, 134
zona di^ passaggio see also zona intermedia, 104, 106,
107, 120, 138
zona intermedia, 104, 106, 107, 118, 129, 139 zweite Hohe, 120, 143 Zwi schenf achsanger, 170 Zwischenfachsangerin, 144, 145

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