The Psychology of Singing / A Rational Method of Voice Culture Based on a Scientific Analysis of All Systems, Ancient and Modern

by David C. Taylor

Fétis: Biographie universelle des Musiciens.

Musikalisches Conversations-Lexikon.

Quellen Lexikon der Musiker. (Robt. Eitner, Leipzig, 1902.)

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INDEX

• Acoustics of voice, [188], [216].
• Anatomy of vocal organs, [211].
• Attack, [51], [53].
• Breathing, [20], [130].
• Breath, singing on the, [14], [27], [32], [72], [194].
• Candle-flame test, [221].
• Coloratura, [195], [282].
• Decline of singing, [341].
• Ear training, [276], [281], [319], [351].
• Emission, [68], [125], [188].
• Empirical knowledge, [151], [176], [181], [359].
  • basis of, [155].
  • in modern instruction, [75], [199], [207].
  • in traditional precepts, [184].
• Enunciation, [88].
• Exercises
  • for breath-control, [26], [31].
  • for breathing, [22].
  • for muscular movements, [46], [50].
  • for relaxing muscles, [90], [272].
  • on vowels and consonants, [85].
• Forward tone, [14], [68], [71], [125], [187].
• Garcia, [16], [22], [34], [35], [56], [328].
• Glottic stroke, [30], [52].
• History of voice culture, [8], [322].
• Howard, John, [43].
• Imitation, [134], [166], [291], [298], [307], [309], [324], [332].
• Intonation, [265], [311], [314], [352].
• Laryngeal action, [34], [36], [44].
• Laryngoscope, [16], [35], [56], [214], [215], [258], [336].
• Lessons, [103], [366].
• Local effort, [273].
• Mancini, [12], [156], [307], [314], [323].
• Mask, singing in the, [74], [81].
• Mechanical vocal management, [83], [102], [109], [113], [135], [271], [287], [297], [299], [321], [329], [333], [346].
• Mechanics of voice, [118], [220], [325], [335].
• Mental voice, [180], [183].
• Messa di voce, [40], [312].
• Method, [92], [96], [99].
  • Old Italian, [10], [304], [316], [320].
• Méthode de Chant, [326].
• Muscular sense, [143], [170].
  • stiffness, [240], [251].
  • strain, [267].
• Nasal tone, [62], [129], [205].
• Nervousness, [249], [256].
• Old Italian masters, [9], [11], [14], [54], [306], [320].
  • method, [10], [304], [316], [320].
• Open throat, [14], [60], [86], [191].
• Placing the voice, [38], [41], [93], [310].
• Practice, [5], [105], [281], [366].
• Precepts, [13], [72], [76], [184], [186], [317].
• Problem of voice, [4], [7], [287], [324], [337], [338].
• Psychology of muscular guidance, [136], [227].
  • of sympathetic sensations, [165].
  • of vocal management, [144], [229], [297].
• Pure vowel theory, [88].
• Quality of tone, [40], [62], [156], [179], [182], [314], [346].
• Radiation of nerve impulse, [251], [259].
• Reflex actions, [247], [255].
• Registers, [34], [38], [55], [312], [315].
• Relaxing exercises, [90], [272].
• Resonance, [54], [58].
  • chest, [61], [127].
  • mouth-pharynx, [59].
  • nasal, [62], [87], [127], [204].
  • sounding-board, [44], [65].
• Sensations of singing, [160].
  • direct, [161], [173].
  • in modern instruction, [78], [84], [114].
  • muscular, [78].
  • sympathetic, [161], [162], [176].
  • of vibration, [54], [55], [58], [80].
• Sight reading, [309], [310], [313].
• Singing in the mask, [74], [81].
  • on the breath, [14], [27], [32], [72], [194].
• Sol-fa, [310], [314].
• Stiffness, muscular, [240], [251].
  • throat, [89], [243], [260], [262], [285], [356], [358].
• Support of tone, [14], [27], [32], [73], [192].
• Sympathetic sensations, [161], [162], [165], [176].
• Technique, [6], [94], [282].
• Throat stiffness, [89], [243], [260], [262], [285], [356], [358].
• Tone-production, [4].
  • problem of [7], [287], [324], [337], [338].
• Tosi, [12], [55], [63], [156], [307], [308], [322].
• Traditional precepts, [13], [14], [76], [186], [317].
  • empirical basis, [184].
  • in modern instruction, [72], [77].
• Tremolo, [265], [272].
• Vocal action, [5], [17], [92], [112], [246].
• Vocal Science, [17], [19], [37], [98], [152], [339], [361], [367].
• Wearing voice into place, [101].

NOTES:

[1] "The old Italian method of instruction, to which vocal music owed its high condition, was purely empirical." (Emma Seiler, The Voice in Singing. Phila., 1886.)

[2] Die grosse italienische Gesangschule. Dresden, 1834.

[3] This statement of the doctrine of breath-control must not be construed as an endorsement of the theory of the vocal action embodied in this doctrine. On the contrary, both the theory of "opposed action" breath-control and the "breath-band" theory are held to be utterly erroneous. For a further discussion of this subject see Chapter II of Part II.