Bonded Leather binding

Why do we sing and what first drove early humans to sing? How might they have sung and how might those styles have survived to the present day? This history addresses these questions and many more, examining singing as a historical and cross-cultural phenomenon. It explores the evolution of singing in a global context - from Neanderthal Man to Auto-tune via the infinite varieties of world music from Orient to Occident, classical music from medieval music to the avant-garde and popular music from vaudeville to rock and beyond. Considering singing as a universal human activity, the book provides an in-depth perspective on singing from many cultures and periods: western and non-western, prehistoric to present. Written in a lively and entertaining style, the history contains a comprehensive reference section for those who wish to explore the topic further and will appeal to an international readership of singers, students and scholars.

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1921 edition. Excerpt: ... CHAPTER X Male Soprani And Other Virtuosi We may now return to the historical survey. In our study of this period we shall be obliged from time to time to overstep its limits. No inclusive review of these fruitful years can be made without occasional .retrospects of the past and flights beyond the border which separates them from the succeeding era. When the seventeenth century began, the glory of the virtuoso singer, as we have noted, was already spread above the horizon of musical art. His sun had risen, and by the end of the century it was blazing in the intolerable splendor of its high noon. Our prospect is crowded with composers who were singers, singers who were composers or decorators of other men's compositions, women who rivalled the most famous diva of modern times in their amazing skill in florid song, and whose musicianship was such that some of them rivalled their masculine contemporaries as composers, cardinals who were the princely patrons and in a measure dictators of the realm of music, male sopranos already challenging the attention of the world and claiming that imperial crown which was ultimately set upon their arrogant brows. The scene is animated, somewhat confused, somewhat difficult of appreciation, because the perspective is so long that this thickly peopled background spreads itself before us in a flat mass of figures which we separate with difficulty. Already, however, we have noted the advent of such artists as Peri and Caccini, composers and singers, who were actively concerned in the birth of the monodic style of the young Florentine school, a style which, as we have seen, was not artificially made, but legitimately descended through an artistic line. In our view of the secular part song we have seen...

The Italian singing technique Bel Canto instructs, "He who knows how to breathe and how to pronounce, knows how to sing." Singing: The First Art incorporates the techniques of Bel Canto along with those of masters like Berton Coffin and Manuel Garcia to promote and facilitate vocal excellence. Many concepts are described, from correct posture and alignment to improving and maintaining proper breathing, from good pronunciation and diction to producing an even, pure tone, and from vocal ranges to singing within and smoothly shifting between vocal registers. Mannes Vocal Faculty member Dan H. Marek effectively breaks down these complicated concepts with clear exercises, helping the vocal student to achieve freedom and complete control over his or her instrument. A primary section on the history of singing stresses the importance of understanding vocal history while inspiring and motivating the student through the experiences of opera stars such as Enrico Caruso, Maria Callas, and Jussi Björling. The second section explains vocal techniques, including the use and proper pronunciation of the IPA (International Phonetic Alphabet), and provides 64 specific exercises with clearly defined goals designed to overcome faults and to develop vocal virtuosity. Complete instructions for transposing the exercises for both male and female voices are included, as well as drawings of the exercises, musical examples from vocal literature, excellent anatomical illustrations by Frank Netter, MD, and copious photographs of opera stars. Singing: The First Art is an invaluable text for students, professionals, singers, conductors, composers, and vocal medical professionals, or anyone interested in understanding and appreciating the vocal art.

The human voice is the most popular musical instrument, and vocal singing is like any other musical endeavour- it takes discipline, practice (and some talent) to do it well. CIG to Singingoffers readers an easy-to-use guide to the process of becoming a singer. Readers will learn how to find their ideal singing range, how to improve their basic technique, how to stand and breathe properly, how to sing in different musical styles, and the book is filled with numerous illustrations, musical examples and singing exercises. An audio CD includes examples of different techniques and accompaniments for the exercises, letting the reader hear the way they're supposed to sound and practice along. The book also contains a glossary of terms, singer's pronunciation reference, vocal problems troubleshooting guide, and a list of resources.

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During the 1920s, a visit to the movie theater almost always included a sing-along. Patrons joined together to render old favorites and recent hits, usually accompanied by the strains of a mighty Wurlitzer organ. The organist was responsible for choosing the repertoire and presentation style that would appeal to his or her patrons, so each theater offered a unique experience. When sound technology drove both musicians and participatory culture out of the theater in the early 1930s, the practice faded and was eventually forgotten. Despite the popularity and ubiquity of community singing—it was practiced in every state, in theaters large and small—there has been scant research on the topic. This volume is the first dedicated account of community singing in the picture palace and includes nearly one hundred images, such as photographs of the movie houses’ opulent interiors, reproductions of sing-along slides, and stills from the original Screen Songs “follow the bouncing ball” cartoons. Esther M. Morgan-Ellis brings the era of movie palaces to life. She presents the origins of theater sing-alongs in the prewar community singing movement, describes the basic components of a sing-along, explores the unique presentation styles of several organists, and assesses the aftermath of sound technology, including the sing-along films and children’s matinees of the 1930s.

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