Miller, Richard

The Structure of Singing : System and Art in Vocal Technique

Preface xv Acknowledgments xvii Introduction xix The Coordinated Vocal Onset and Release: Establishing Dynamic Muscle Equilibrium through Onset and Release 1(19) The Varieties of Onset 1(3) The Hard Attack 2(1) The Soft Onset 3(1) The Balanced Onset (Dynamic Muscle Equilibrium) 4(1) Exercises for Achieving the Balanced Onset 4(3) Uses of the Aspirated Onset 7(1) Uses of the Glottal Attack 8(1) Physiological Benefits of the Coordinated Onset 8(1) Onset Vocalises which Induce Dynamic Equilibrium 9(3) Group 1 Exercises 11(1) Staccato and Onset 12(6) Group 2 Exercises 13(2) Group 3 Exercises 15(3) The Release 18(2) The Soft Release 18(1) The Hard Release 18(1) The Balanced Release 19(1) The Supported Singing Voice: Breath Management in Singing 20(20) Subglottic Pressure and Glottal Activity 21(2) The Technique of appoggio 23(17) Breath Management Exercises without Phonation 29(3) Breath Management Exercises with Sibilants and Fricatives 32(2) Breath Management Exercises Involving Phonation 34(3) Breath-pacing versus ``More Support'' 37(3) Agility in Singing: Flexible Application of Breath Power 40(8) Exercises for the Acquisition of Agility 42(6) The Resonant Voice: Supraglottic Considerations in Singing 48(21) Vowel Formants 50(5) The Singer's Formant 55(1) The Singer's Perception of Timbre 56(2) The Open Throat (gola aperta) 58(2) ``Placement'' of the Voice (impostazione della voce) 60(2) Exercises for Establishing Resonance Balance (impostazione) in Singing 62(1) Velopharyngeal Closure 63(6) The Well-balanced Vowel: Vowel Differentiation in Singing 69(10) The Acoustic At-rest Posture 69(1) The Vowel Postures 70(3) Formation of the Neutral Vowels [Λ] and [e] 70(1) Formation of the Vowel [a] 71(1) Formation of the Vowel [i] 71(1) Formation of the Vowel [e] 72(1) Formation of the Vowel [&epsis;] 72(1) Formation of the Vowel [c] 73(1) Formation of the Vowel [o] 73(1) Formation of the Vowel [u] 73(1) Mouth Position for Vowels in Singing 73(3) Exercises for Vowel Differentiation 76(3) Group 1 Exercises 76(1) Group 2 Exercises 77(2) Resonance Balancing through Nasal Consonants: The Influences of Nasal Continuants on Resonator Adjustment 79(11) Pedagogical Uses of Consonantal Phonemes in General 79(1) Use of the Nasals in Balancing Resonator Coupling 80(1) Some Uses of the Voiced Bilabial Stop [m] 81(3) Uses of the Alveolar-nasal Continuant [n] 84(1) Some Uses of the Voiced Linguavelar Stop [n] 85(1) Some Uses of the Lingua-palatal-nasal Continuant [n] 86(2) Some General Considerations on the Nasal Continuants 88(2) Resonance Balancing through Non-nasal Consonants: The Influence of Non-nasal Consonants on Resonator Adjustment 90(18) Uses of the Voiced Lingua-anterior-palatal Continuant [j] 90(1) Uses of the Lingua-alveolar Continuant [1] 91(2) Uses of the Alveolar Single [r] and the Alveolar Rolled [r] 93(2) Uses of the Voiced Labiodental Fricative Continuant [v] and the Voiceless Labiodental Fricative Continuant [f] 95(1) Uses of the Voiced Bilabial Stop Plosive [b] and the Voiceless Bilabial Stop Plosive [p] 96(2) Use of the Voiced Lingua-alveolar Fricative Continuant [z] and the Voiceless Lingua-alveolar Fricative Continuant [s] 98(1) Uses of the Voiced Linguadental Fricative Continuant [o] and the Voiceless Linguadental Fricative Continuant [θ] 99(1) Uses of the Voiced Lingua-alveolar Stop Plosive [d] and the Voiceless Lingua-alveolar Stop Plosive [t] 100(3) Uses of the Voiced Linguavelar Stop Plosive [g] and the Voiceless Linguavelar Stop Plosive [k] 103(1) Uses of Voiceless Consonants in General 104(1) Useful Pitch Patterns 105(1) Vowel and Diphthong Patterns 106(1) Coupled Consonants 106(2) Sustaining the Voice: Sostenuto 108(7) Exercises for Developing Sostenuto 109(6) Group 1 Exercises 109(2) Group 2 Exercises 111(1) Group 3 Exercises 112(1) Group 4 Exercises 112(2) Group 5 Exercises 114(1) Unifying the Registers of Male Voices 115(17) Register Terminology 115(1) Primo passaggio (First Register Transition) 116(1) Secondo passaggio (Second Register Transition) 116(1) Zona di passaggio (zona intermedia) (The Passage Zone) 116(1) Registration Events of Male Voices 116(10) Voce di petto (Chest Voice) 117(1) Voice mista (Mixed Voice) 118(1) Voce di testa (Head Voice) 118(1) Voce finta (Feigned Voice) 119(1) Falsetto 119(4) The Male Falsettist 123(2) Scrohbass 125(1) Exercises for Achieving an Evenly Registered Scale in Lower and Middle Voice 126(3) Group 1 Exercises 127(2) Exercises for Achieving an Evenly Registered Scale in Upper and Middle Voice 129(3) Group 2 Exercises 129(3) Unifying the Registers of the Female Voice 132(18) Registers of the Female Speaking Voice 133(1) Combining Female Singing Registers 133(1) Registration Events of Female Voices 134(2) Chest in Female Voices 136(1) Open Chest 136(1) Chest Mixture 136(1) Exercises for the Development of the Lower Range 137(3) Head Mixture in Female Lower Range 140(2) Head Mixture in Female Middle Range 142(1) Exercises for Inducing Head Mixture in Middle Voice 142(1) Female voce di testa 143(1) Exercises for Inducing voce di testa Sensations Throughout the Voice 144(3) Flageolet Register 147(2) Exercises for Developing the Flageolet Range 149(1) Vowel Modification in Singing: aggiustamento 150(11) Timbre Terminology 155(2) The Technique of aggiustamento (The Vowel Series in Modification) 157(2) Exercises for Achieving aggiustamento 159(2) Range Extension and Stabilization in Singing 161(10) Range and Voice Categorization 163(4) Extending the Vocal Range 167(1) Exercises for Extending and Stabilizing the Vocal Range 167(4) Messa di voce and Dynamic Control 171(11) Exercises for Developing Dynamic Control 173(3) Determining Dynamic Levels 176(6) Vibrancy in Singing: Vibrato and Vocal Timbre 182(15) Physical Causes of Vibrato 183(2) Uses of the Vibrato 185(1) Correcting Oscillation (``Wobble'') 186(1) Eliminating Straight-tone Intrusion 187(2) Correcting the Vibratoless Voice 189(2) Correcting Tremolo (``Shake'') 191(2) Vibrato and Velocity 193(1) Pedagogical Uses of Straight-tone 194(1) Uses of the Trill 195(2) Coordinating Technique and Communication 197(8) Pedagogical Attitudes: The Aesthetics of Vocal Timbre 205(13) The New Student 207(1) Compensatory Methods of Singing 208(1) The Technically Intense Teacher 209(1) The Interpretation-oriented Teacher 210(1) The Technique-mystique Teacher 211(1) The One-aspect Teacher 212(1) Pedagogical Balance 212(2) Teaching Oneself 214(4) Healthy Singing 218(23) Conditioning for Performance Readiness 220(1) Performance-day Routine 221(3) When Not to Sing 224(2) What to Sing 226(2) The Teacher-performer 228(1) The Question of Complete Vocal Rest 229(1) The Question of Medication 230(1) Dry Throat 231(1) ``Clearing'' the Throat 231(1) Fighting the Cough 232(1) Chewing 233(2) Singers and the Laryngologist 235(1) Weight and the Singing Voice 236(1) Diet and the Singer 237(1) Physical Exercise and Singing 238(1) Longevity and the Voice 238(1) The Optimistic Performer 239(2) Appendix 1. Laryngeal Structure and Function 241(18) Cartilaginous Structure of the Larynx 242(4) The Single or Unpaired Laryngeal Cartilages 242(3) The Paired Laryngeal Cartilages 245(1) Ligaments and Membranes of the Larynx 246(2) The Interior of the Larynx 248(1) Muscles of the Larynx and their Function 248(8) Extrinsic Muscles 249(3) Intrinsic Muscles 252(1) The Muscles of Adduction 253(2) The Muscles of Elongation 255(1) Summary of Intrinsic Laryngeal Action 256(3) Appendix 2. The Structure and Mechanics of the Breath Apparatus 259(22) The Thoracic Cage 259(1) The Region of the Sternum 259(3) The Intercostal Muscles 262(1) The Diaphragm 262(5) The Lungs and the Pleurae 267(3) Muscles of the Neck 270(3) Muscles of the Upper Torso 273(2) Muscles of the Anterolateral Abdominal Wall 275(3) Systems of Breath Control 278(3) Appendix 3. The Physiology of the Vocal Tract Resonator System 281(6) Appendix 4. The Physical Factors of Vocal Registration 287(6) Cricothyroid Action in Registration 287(4) External Frame Function 291(1) Damping 291(1) Summary of Physical Aspects of Registration 292(1) Appendix 5. Influences of Various Voiced and Unvoiced Consonants on Resonator Adjustment 293(4) Appendix 6. International Phonetic Alphabet (IPA) Symbols 297(4) A Concise Correlative Pronunciation Guide 297(1) IPA Symbols for Vowels, Semi-vowels, and French Vowel Sounds 298(1) International Phonetic Alphabet Symbols for Consonant Sounds 299(2) Glossary of Nonmusical Terms 301(10) Glossary of Vocal Terms 311(4) Bibliography 315(52) Articles 315(35) Books 350(17) Index 367