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Resonance in Singing and Speaking   By: (1836-1908)

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RESONANCE

IN

SINGING AND SPEAKING

BY

THOMAS FILLEBROWN, M.D., D.M.D.

TWENTY ONE YEARS PROFESSOR OF OPERATIVE DENTISTRY AND ORAL SURGERY IN HARVARD UNIVERSITY; MEMBER OF THE AMERICAN MEDICAL ASSOCIATION, THE ACADEMY OF DENTAL SCIENCE, THE NEW ENGLAND OTOLOGICAL AND LARYNGOLOGICAL ASSOCIATION, ETC.; LECTURER ON VOICE DEVELOPMENT.

THIRD EDITION

[Illustration: THE MUSIC STUDENTS LIBRARY]

BOSTON OLIVER DITSON COMPANY

NEW YORK CHAS. H. DITSON & CO.

CHICAGO LYON & HEALY

Copyright, MCMXI BY OLIVER DITSON COMPANY

International Copyright secured

[Transcriber's Note: Text in bold is surrounded by =. Text in italics is surrounded by .]

TO THE MEMORY OF

WILLIAM HASKELL STOCKBRIDGE

PUPIL OF VANNUCCINI AND MY FIRST INSTRUCTOR IN VOICE CULTURE, THIS VOLUME IS AFFECTIONATELY DEDICATED

PREFACE

Efforts to develop my own voice, and the voices of my patients after operations for cleft palate, aided by anatomical study, resulted in a plan for the focusing and development of the human voice quite different from any other yet published, or, so far as I know, yet proposed. This plan has proved so successful in my later life that I feel emboldened to offer it for the consideration of speakers and singers.

While twenty five years ago few of the principles here described were acknowledged or even recognized, within the last decade almost all have been advocated separately by different teachers or writers. At the present time, therefore, originality consists only in the classification of the principles into a systematic, progressive whole, and in arranging a simpler and more practical method of applying them, thus making the desired results much more quickly attainable.

It is attempted in this volume only to describe the value of each element in the production of the perfect tone and to demonstrate the principles which, if properly and faithfully applied, will develop the best that is possible in each individual voice and prepare the pupil to enter upon the more advanced arts of speaking and singing.

In 1903 I prepared a series of papers on The Art of Vocalism , which were published in The √Čtude in May, June, and July of that year. These articles are incorporated in this work. In connection with different organs and conditions, important principles are stated and restated. This repetition is thought desirable in order that the fundamentals may be kept prominently before the mind and impressed upon the attention.

I believe that a careful study of this volume will prove of essential service to teachers and advanced pupils of singing and oratory, especially to young teachers just entering upon their duties. Its method will be found adapted to the instruction of pupils of all grades, from the kindergarten to the Conservatory of Music and the School of Oratory.

I shall be gratified if this outcome of years of experience, constant study, and tested methods shall prove helpful to those who seek mastery of the art of beautiful speaking and singing.

[Illustration: [signature] Thomas Fillebrown]

CONTENTS

PREFACE vii

INTRODUCTION 1

I. THE VOCAL INSTRUMENT 6

II. THE SPEAKING VOICE AND PRONUNCIATION 16

III. BREATH CONTROL 23

IV. BREATHING EXERCISES 33

V. REGISTERS 38

VI. RESONANCE IN GENERAL 43

VII. HEAD AND NASAL RESONANCE 51

VIII. PLACING THE VOICE 56

IX. THROAT STIFFNESS 74

X. SOME GENERAL CONSIDERATIONS 77

XI. THE PSYCHOLOGY OF VOCAL CULTURE 82

BOOKS CONSULTED 86

INDEX 89

RESONANCE

IN

SINGING AND SPEAKING

INTRODUCTION

When a youth it was my lot to be surrounded by examples of faulty vocalism, such as prevailed in a country town, and to be subjected to the errors then in vogue, having at the same time small opportunity for training in the application of principles, even as then imperfectly taught... Continue reading book >>




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