The Student Voice: An Introduction to Developing the Singing Voice

The Student Voice: An Introduction to Developing the Singing Voice

The Student Voice: An Introduction to Developing the Singing Voice

The Student Voice: An Introduction to Developing the Singing Voice

Synopsis

With a successful career as a singing teacher for more than a quarter of a century, author Colin Baldy has been frustrated by the lack of suitable reading materials aimed specifically at the student of the singing voice. Therefore, he has provided a useful resource with The Student Voice. Primarily designed for undergraduate and graduate level students, the book will also benefit mature singers, teachers, and those already in the singing profession who simply want to keep their technique and knowledge alive. The Student Voice includes some physiology, with suggested exercises and methods for developing the correct use of the student's physical instrument. It suggests a suitable repertoire to run alongside the exercises and contains a large amount of trouble-shooting advice. The author's intention is to encourage singing students and to assist them in avoiding common pitfalls. The book will also help singers identify vocal problems which they may already have developed.

Excerpt

This book is written for anyone working with the voice, be they student or teacher, amateur or professional.

During many years of teaching I have often been asked if there is a book which the student could read to back up their lessons. This has always been a difficult question to answer, because too many books on singing are either confusingly over-technical or give advice or information which is misleading. In writing this book, I have sought to address this problem by giving enough anatomical and physiological information to make the technical process of singing clear, whilst keeping the information digestible.

The book falls into two sections. The first is a discussion of vocal technique. It is necessary to have some idea of the construction and the working of the voice in order to be able to work on it, which is why this section opens the book. In the second section, I discuss potential pitfalls and weaknesses and how best to avoid or correct them. There is advice on how to use the text or the drama of the composition that one is singing, with suggestions for repertoire.

I have included vocal exercises throughout the book. They are there to develop muscle memory; in so doing, they will help to improve and develop vocal technique. However, these are not written in stone, and I would encourage readers to experiment and develop their own exercises in response to a particular vocal concept or problem.

There is a section on vocal pedagogy, partly to give students an insight into the history of the subject, but, more importantly, to dispel the notion that different teachers promote methods that are diametrically opposed . . .

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