Resonance in Singing and Speaking

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. Preface. 2. Introduction. 4. I. The Vocal Instrument. 9. II. The Speaking Voice and Pronunciation. 19. III. Breath Control. 27. IV. Breathing Exercises. 39. V. Registers. 45. VI. Resonance in General. 50. VII. Head and Nasal Resonance. 57. VIII. Placing the Voice. 61. IX. Throat Stiffness. 85. X. Some General Considerations. 87. XI. The Psychology of Vocal Culture. 92.