1 / 24

A Physiological and Pedagogical Review of Vocal Registers

A Physiological and Pedagogical Review of Vocal Registers. Stephen F. Austin, M.M., Ph.D. Associate Professor of Voice University of North Texas.

hidi
Télécharger la présentation

A Physiological and Pedagogical Review of Vocal Registers

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. A Physiological and Pedagogical Review of Vocal Registers Stephen F. Austin, M.M., Ph.D. Associate Professor of Voice University of North Texas The Vocal Pedagogy Workshop

  2. Manuel Garcia II A Complete Treatise on the Art of Singing: Part On. The editions of 1841 and 1872 collated, edited, and translated by Donald V. Paschke. New York: Da Capo Press. Pg. xli, 1967. “By the word register we understand a series of consecutive and homogenous tones going from low to high, produced by the development of the same mechanical principle, and whose nature differs essentially from another series of tones equally consecutive and homogenous produced by another mechanical principle.” The Vocal Pedagogy Workshop

  3. Manuel Garcia II A Complete Treatise on the Art of Singing: Part One. The editions of 1841 and 1872 collated, edited, and translated by Donald V. Paschke. New York: Da Capo Press. Pg. xli, 1967. (cont.) “All the tones belonging to the same register are consequently of the same nature, whatever may be the modification of timbre or of force to which one subjects them.” The Vocal Pedagogy Workshop

  4. Minoru Hirano “Regulation of Register, Pitch and Intensity of Voice”. Folia Phoniatrica, Vol. 22, Pp. 1-20, 1970. The Vocal Pedagogy Workshop

  5. Minoru Hirano “Vocal Mechanisms in Singing: Laryngological and Phoniatric Aspects”. Journal of Voice, Vol. 2, No. 1, Pp. 51-69. 1988. The Vocal Pedagogy Workshop

  6. Minoru Hirano “Vocal Mechanisms in Singing: Laryngological and Phoniatric Aspects”. Journal of Voice, Vol. 2, No. 1, Pp. 51-69. 1988. The Vocal Pedagogy Workshop

  7. Ingo Titze Principles of Voice Production. Prentice Hall, Englewood Cliffs, New Jersey, Pg. 262, 1994. The Vocal Pedagogy Workshop

  8. Ingo TitzePrinciples of Voice Production. Prentice Hall, Englewood Cliffs, New Jersey, Pg. 261, 1994. “As the bottom of the vocal fold bulges out, the glottis becomes more rectangular than wedge-shaped (convergent). During vibration, then, glottal closure can be obtained over a greater portion of the vocal fold, and thereby over a greater portion of the cycle…The result is a voice of richer timbre, which we call chest or modal voice. The Vocal Pedagogy Workshop

  9. Giambattista Mancini Practical Reflections on Figured Singing. Editions of 1774 & 1776 compared, translated and edited by Edward V. Foreman, Pro Music Press, Minneapolis. Pg. 20, 1967. “This chest voice is not equally forceful and strong in everyone; but to the extent that one has a more robust or more feeble organ of the chest, he will have a more or less robust voice.” The Vocal Pedagogy Workshop

  10. Giambattista Mancini Practical Reflections on Figured Singing. Editions of 1774 & 1776 compared, translated and edited by Edward V. Foreman, Pro Music Press, Minneapolis. Pg. 34, 1967. “A sonorous body, or rather robustness of voice is ordinarily a gift from nature, but can also be acquired by study and art.” The Vocal Pedagogy Workshop

  11. Giambattista Mancini Practical Reflections on Figured Singing. Editions of 1774 & 1776 compared, translated and edited by Edward V. Foreman, Pro Music Press, Minneapolis. Pg. 35, 1967. “It remains for me now to speak of those voices which are slender and weak throughout their register . . . One observes that these voices are very weak in the chest notes, and the greater majority deprived of any low notes, but rich in high notes, or head voice . . .” The Vocal Pedagogy Workshop

  12. Giambattista Mancini Practical Reflections on Figured Singing. Editions of 1774 & 1776 compared, translated and edited by Edward V. Foreman, Pro Music Press, Minneapolis. Pg. 35, 1967. “There is not method more sure to obtain this end, I believe, than to have such a little voice sing only in the chest voice for a time. The exercise should be done with a tranquil solfeggio; and as the voice enriches itself with greater body, and range, one may blend it as much as possible with the low notes.” The Vocal Pedagogy Workshop

  13. Manuel Garcia II A Complete Treatise on the Art of Singing: Part One. The editions of 1841 and 1872 collated, edited, and translated by Donald V. Paschke. New York: Da Capo Press. Pg. 50, 1967. “As we have said, the chest register is generally denied or rejected by teachers, not that one could not draw from its application an immense advantage, nor that the suppression of the range which it embraces would not deprive the singer of the most beautiful dramatic effects or the most favorable contrasts.” The Vocal Pedagogy Workshop

  14. William Vennard Developing Voices. Carl Fischer, New York, New York, 1973. “During her studies she frequently asked for help with her high tones, which did improve during the work. More freedom and modification of the brighter vowels helped the top voice, but what she needed most was to develop the chest voice and blend it into her singing so that it would be usable.” The Vocal Pedagogy Workshop

  15. Richard Miller Structure of Singing. Schirmer Books, New York, New York. Pg. 136-137, 1986. “Chest mixture will strengthen the soprano’s lower - middle range. Almost every female can make some chest timbre sounds, no matter how insecure, in the lowest part of her range. These notes should be sung in short, intervallic patterns, transposing by half steps upward, as more sound emerges.” The Vocal Pedagogy Workshop

  16. Ingo Titze Principles of Voice Production. Prentice Hall, Englewood Cliffs, New Jersey, Pg. 262, 1994. The Vocal Pedagogy Workshop

  17. Manuel Garcia II A Complete Treatise on the Art of Singing: Part One. The editions of 1841 and 1872 collated, edited, and translated by Donald V. Paschke. New York: Da Capo Press. Pg. 50, 1967. “…because one can approach the study of this register only with the help of profound knowledge, under the threat of ruining the student’s voice, and because the blending of this register with that of the falsetto can be secured only by a long and ably directed labor. It has therefore been judged simpler and more natural to free oneself from the difficulty of studying it.” The Vocal Pedagogy Workshop

  18. William Vennard Singing: The Mechanism and the Technique. Carl Fischer, New York. Pg 214. 1967. The Vocal Pedagogy Workshop

  19. William Vennard Singing: The Mechanism and the Technique. Carl Fischer, New York. Pg 155. 1967. The Vocal Pedagogy Workshop

  20. ‘Long sustained tones in the chest’ The Vocal Pedagogy Workshop

  21. ‘Welcoming in the chest’ The Vocal Pedagogy Workshop

  22. “Imposing the chest’ The Vocal Pedagogy Workshop

  23. ‘Imposing the chest – II’ The Vocal Pedagogy Workshop

  24. ‘Deference to the head’ The Vocal Pedagogy Workshop

More Related