Un instrument excepţional: vocea umană: 1
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| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Romanian |
| Veröffentlicht: |
Iaşi
Tehnopress
(2005)
|
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 306 S. Ill., Notenbeisp. |
| ISBN: | 9737022467 |
Internformat
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Datensatz im Suchindex
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|---|---|
| adam_text | CUPRINS
Pro
Musica
Bona
....................................................................................13
I. Un
instrument
excepţional: vocea umană
...........................................17
1.
Aparatul
vocal
-
generalităţi anatomo-fiziologice
.............................17
2.
Etajele constitutive ale aparatului vocal: aparatul respirator, fonator,
rezonator, grupa organelor articulatorii, rolul aparatului sistemului nervos
şi al sistemului auditiv
.........................................................................20
II.
Respiraţia
...........................................................................................23
1.
Elemente de anatomie şi fiziologie umană
........................................23
2.
Teoria respiraţiei în cânt
.................................................................29
2-а.
Tipuri de respiraţie. Despre respiraţia totală. Etape
............................32
2.b. Influenţa şi importanţa respiraţiei în cântul de performanţă
..............34
2.C. Gimnastica respiratorie. Exerciţii. Despre antrenamentul respirator..
35
2.d. Respiraţia şi cerinţele frazării în actul interpretativ
...........................39
2.e. Consideraţii asupra termenilor de impedanţă reîntoarsă pe
laringe,
presiune
subgloticã,
appogio, apnee
.......................................................50
2.f. Relaxarea şi mecanismul pneumo-fono-rezonator
...............................53
2.g. Defectele respiratorii şi repercusiunile lor în cânt
..............................58
3.
Pedagogi şi interpreţi vorbind despre respiraţie
................................ 60
III. Fonaţia. Rezonanţa. Articulaţia
.........................................................67
1.
Morfologia aparatului fonator
..........................................................67
2.
Influenţa glandelor endocrine asupra aparatului fonator
.................69
2.a. Mutaţia vocii şi studiul tehnicii vocale la pubertate
............................69
2.b. Influenţa sistemului endocrin asupra vocii
..........................................71
3.
Funcţionarea aparatului fonator
.......................................................77
3.a. Sunetul uman. Teorii ale producerii sunetului
.....................................77
3.b. Calităţile sunetului necesare în cântul de performanţă
.....................80
4.
Aparatul rezonator
..........................................................................82
4.a. Rezonatorii
-
microfoanele portabile ale cântăreţului.
Descrierea cavităţilor cu volum variabil şi invariabil
...................................82
4.b. Rolul lor în procesul emisiei vocale
................................................85
5.
Grupa organelor articulatorii
-
descriere anatomică
........................88
6.
Conexiunea pneumo-fono-rezonatorie, mecanism ideal pentru
dobândirea unei tehnici performante în teatrul liric şi în
protejarea aparatului vocal
..................................................................90
6
7.
Consideraţii asupra termenilor de ţesătură vocală, registrele vocii,
note de pasaj, diapazon vocal. Acoperire şi colorare în glas. Rezonanţă
de piept şi rezonanţă de cap
................................................................96
IV.
Clasificarea vocilor cântate
.............................................................106
1.
Introducere
...................................................................................106
2.
Vocile copiilor
................................................................................107
3.
Clasificarea vocii cântate
...............................................................110
V.
Igiena aparatului vocal
......................................................................123
1.
Profesioniştii vocali
........................................................................123
2.
Afecţiunile aparatului vocal. Afecţiuni ale organismului cu
repercursiuni asupra aparatului vocal.
Malmenajul
vocal
....................124
3.
Medicamentele şi vocea
.................................................................129
4.
Echilibrul antrenament
-
odihnă şi randamentul vocal
...................132
5.
Alimentaţia
....................................................................................134
6.
Sexualitatea şi vocea
......................................................................136
VI.
Aparatul auditiv
...............................................................................139
1.
Structura anatomo-fiziologică a aparatului auditiv
..........................139
2.
Auzul muzical şi coordonatele sale
.................................................140
3.
Cântăreţul liric
-
între percepţia sunbetului şi senzaţiile interne
din timpul fonaţiei
............................................................................149
VIL Sistemul nervos central şi fonaţia sau
Introducere în psihopedagogia cântului vocal
....................................153
1.
Sistemul nervos
-
Elemente de morfofiziologie
.............................153
2.
Gândirea. Gândirea muzicală
-
coordonate
(perspectiva psihologică)
...................................................................156
3.
Limbajul. Limbajul interpretului liric
.............................................161
4.
Autocontrolul şi relaxarea
.............................................................163
5.
Formarea priceperilor, automatismelor şi reprezentărilor în cânt
sau rolul sistemului nervos central
......................................................167
6.
Memoria. Atenţia (Concentrarea)
.................................................170
7.
Personalitatea artistului liric. Consideraţii asupra termenilor
de personalitate, temperament, caracter, inteligenţă
(inteligenţă muzicală)
.........................................................................176
8.
Afectivitatea. Emotivitatea
............................................................184
9.
Creativitatea
..................................................................................186
10.
Fişa psihopedagogică a studentului la canto
.................................195
VIII. Pedagogia muzicală vocală-între ştiinţă şi artă
...........................199
1.
Ereditate şi mediu în formaţia muzicală
.......................................199
2.
Stadialitatea educaţiei muzicale vocale. Etape în construirea şi
cizelarea vocii umane
.........................................................................206
7
3.
Educaţia vocală a copiilor
.............................................................211
4.
Pubertatea şi studiul tehnicii vocale
.............................................219
5.
Etapa studiilor vocale propriu-zise. Audiţia muzicală
....................224
6.
Educarea ţinutei şi atitudinilor corporale sugestive. Defecte şi
corecturi
............................................................................................225
7.
Antrenamentul respirator
..............................................................226
8.
Emisie. Dicţie. Articulaţie. Despre deschiderea gurii
....................228
9.
Importanţa cunoaşterii termenilor de specialitate
........................256
10.
Clasificarea tehnicilor vocale. Tehnica vorbirii scenice.
Vorbirea şi cântul
.............................................................................257
11.
Analiza marilor metode de educare ale vocii cântate
....................259
12.
Ce trebuie ştiut despre vocalize
..................................................261
13.
Fişa repertorială a studentului la canto
.......................................278
14.
Un bijutier original
-
profesorul de canto. Cerinţe.
Arta motivării. Model sau nu?
...........................................................280
15.
Colaborarea cu profesorul acompaniator. Nivele
..........................284
Bibliografìe
selectivă
..............................................................................291
Summary
................................................................................................305
CONTENTS
Preface
Pro
Musica Bona
........................................................................13
I. An Exceptional Musical Instrument: Human Voice
.............................17
1.
Vocal system-anatomical and physiological general presentation
......17
2.
The constitutive levels of the human voice
mechanisme:
breathing
fonation and resonance system, the group of articulation organs,
the importance of the hearing organ and of the nervous system
...........20
II. Respiration-The Basic Pillar of The Vocal Technique
........................23
1.
Anatomical and physiological human elements
................................23
2.
The breathing s theory in singing process
........................................29
2.a. Different kinds of breathing. Levels. About the best type of
singing s breath-arguments
.................................................................32
2.b. Breath in performance singing: Influence and importancy
.................34
2.C. Breathing s gymnastics. Setting-up
exercices
of breath.
Talking about breathing traitmant
.......................................................35
2.d. Respiration and musical phrase s demands
.....................................39
2.e. Considerations about following therms: sub-glottis pressure,
impedance retroverting on larynx
........................................................50
2.f. The relaxation and the vocal mechanism
........................................53
2
.g. Breathing errors and their consequences in singing
..........................58
3.
Teachers and performers talking about breath in scenic speech
and sing
...............................................................................................60
III. Fonation. Resonance. Articulation
.....................................................67
1.
Morphophysiology of the fonation s mechanism
.............................67
2.
The influence (the consequences) of the
endocrin
system
in fonation
................................:...........................................................69
2.a. The changes of the voice in puberty s period and the
vocal study
........................................................................................71
2.b. The influence of the
endocrin
system in voice
.................................71
3.
The functionality of the fonation system
.........................................77
3.a. The human vocal
semnal
(sound).Theorys of fonation
.....................77
3.b. The qualities of human sound used in classic vocal singing
(bel-canto)
........................................................................................80
4.
The resonance: portable microphones of the voice
...........................82
4.a. The resonance s organs: the portable microphones of the voice
.........82
10
4
.b.
Description of the resonance cavities with invariable or
variable
volum
..................................................................................85
5.
Articulation organs group-anatomical description
............................88
6.
Breathing, fonetical and resonance conection: ideal mechanism
in technical construction of the voice and in protection of the vocal
system. Errors in fonation s and resonance s conduct
.........................88
7.
Considerations about following therms of the vocal technique:
vocal tissue, pitchfcompass) of the voice, ranges, passage s sounds.
Covering and colouring in singing voice
...............................................96
IV. The Singing Voice Classification
....................................................107
1
.Introduction. Norms (criterious) of the vocal classification
............107
2.The children voices
........................................................................108
S.Voice classification in the lyrical theatre. Norms of classifications.
Soprano,
mezzosoprano,
baryton,
bass, after the tissue and the
repertorial
direction
..........................................................................110
V. The Vocal Hygiene
...........................................................................123
1.
About vocal professionals
..............................................................123
2.
Affections of the vocal
mechanisme.
Affections of the body with
serious consequences in the functionality of the voice.
Vocal
malmanager
.............................................................................124
3.
Drugs and the voice
......................................................................129
4.
The harmony between the vocal traitment and
repause
and
the vocal performance
.......................................................................132
5.
The nutrition and voice
.................................................................134
6.
Sex and voice
................................................................................136
VI. Hearing System
...............................................................................139
1.
Morphophysiology elements of the hearing system
.......................139
2.
Musical hearing and their co-ordinates
..........................................140
3.
The
liric
singer
-
between the sound s perception and internal
sensations in fonation
.........................................................................149
VII.
Central Nervous System and Fonation or Introduction in
Psycho-pedagogy of the Vocal Singing
.................................................153
1.
Elements of morphophysiology
.....................................................153
2.
Musical thinking-diferrent aspects
................................................156
3.
The human language.The musical language
...................................161
4.
Autocontrol
and relaxation
.............................................................163
5.
Building representations, habits and abituels in the art of singing
and voice technique
..........................................................................167
6.
Memory. Attention (Concentration)
.............................................170
11
7.
The lyric artist personality. Considerations about pesonality s
notion, about character, inteligence (musical inteligence)
..................176
8.
Affection.Emotion
........................................................................184
9.
Creativity
......................................................................................186
10.
Psychopedagogy slip of the bel-canto student
.............................195
VIII.
The bel-canto pedagogy between science and art
.........................199
1.
Heredity and social.(and educational) environement in
musical formation
.............................................................................199
2.
Stadiality of the vocal music education. Levels
.............................206
3.
The children s singing education
...................................................211
4.
The Puberty and bel-canto study
..................................................219
5.
The level of the proffesional sing education. The first audition
student-teacher
.................................................................................224
6.
The espresive body carriage (scenis atituds) education.
Wrongs and corrections
.....................................................................225
7.
The breathing traitmant-global vision
............................................226
8.
Talking about sound s
emisión.
Diction, articulation and the open
of the mouth
.....................................................................................228
9.
How important is to know, to understand and to aplly the
bel-canto techique language
..............................................................256
10.
The stage s talking and singing technique. Speech and singing
....257
11.
The analyse of the most important methods of classification and
education in singing voice
..................................................................259
12.
Talking about vocal exercises
......................................................261
13.
The bel-canto
repertorial
slip
......................................................278
14.
An original jeweller, bel-canto teacher. Demands.The art of
motivation. Model or not? Musical, pedagogical and artistic style
.....280
15.
The colaboration with the accompanist pianist teacher. Levels
.....284
Bibliography
..........................................................................................291
Summary
...............................................................................................305
Summary
In this book I intended to present a lot of the most important
things who has importance in the beautiful art of singing and voice
technique but I haven t
pretention
to finish this problematics. Begin¬
ning two years ago, was concepted like a course for students at the
bel-canto discipline and for the people who want to know and to
understand this complicate and very delicate process-building human
voice as an exceptional musical instrument. It s very interesting how
the singer is in the same time instrument and the instrument player.
More than this, the voice is an intransmissible and a live musical
instrument, and we must attach her construction using delicate
me¬
thodes
because it is very sensible. Any wrong way for her is dangerous,
more dangerous than more valuable is the voice, so, be very carrfully
with it and you ll have harmony conditions to
exceli
in artistic domain.
In Preface we talk about music and music interpretation, value,
this intoduction been a mesage for the students and vocal
performans
to progress in vocal tecnique and artistic espression for the public s
delight and we talk about
Musica
Bona, a
very special kind of music,
music for the elevation level of the human spirit.
First chapter, intitulated An Exceptional Musical Instrument:
Human Voice, is a general presentation of the vocal mechanism
(inclused the level of breathing, fonation and resonance), the group of
the articulation and hearing organs and their importance in speech
and singing process; also the nervous system.
The second chapter-Respiration-the basic pillar of the vocal tech¬
nique arhitecture
analise
elements of the anatomical and physiologycal
aspects, the breathing theory, about the whole respiration-the best
type of breath in singing, gymnastics and practice breathing exercises,
explaine some technical therms (sub-glottis-pressure, impedance,
apnee),
errors in breathing practice, and at last of this
capitol
we add some
diffrent
opinies
about the respiration in singing
.
Next chapter, Fonation, presents news aspects-puberty and vocal
study, theory of fonation, the qualities of the human sound used in
306
UN INSTRUMENT EXCEPTIONAL:
VOCEA
UMANA
performance singing, about articulation and resonance organs, the
conexión
of the vocal elements in practice .We present explanations
about vocal tissue, voice compass, diction, ranges of the voice, passage
sounds, colouring and covering in singing, about the fonems of the
speech.
The singing voice classification chapter
speechs
about hierarchy of
the voices in lyrical theatre and about children s voice carachteristics.
The fifth chapter-Hygiena-makes referrences at the vocal profes¬
sionals, talking about diffrent affections of the body and the voice,
about drugs and voice, sex and voice, the necessary harmony between
the vocal traitment and
repouse
in singing performance.
The sixth chapter-Hearing System presents some interesting as¬
pects of intern hearing in fonation at the singers, some particular dif¬
ferences hwo must to be understanding and apply
.
The seventh chapter-Central nervous
sistem
and fonation or Psycho-
pedagogy in singing treats musical memory, attention on the stage,
musical language, the artistic and human personality of the singers
(about characters, temperament and musical
inteligence).
Also, we
talk about creativity, affection and emotion, about the psychologycal
slip of the canto s students, how the building correctly representa¬
tions,
habituels
and abituels in singing.
The last chapter, The bel-canto pedagogy-modern vision traits
consequences of the heredity and the educational environements in
art of singing, children s period and vocal education, puberty and voice
technique, the
espressive
carriage education, breathing traitment-global
vision, speech and singing technique, about vocal esercises, the
reper¬
torial
slip of the canto s students.
Finally, this book is a work of beginning who can be up-date every
day, it s a guide but it cannot substitution the vocal coach; you ll not
learn to sing after you ll read it but you ll know more about the art of
■
singing and voice technique, and may be you ll
apreciate
better the
creation of the lyrical singers.
|
| adam_txt |
CUPRINS
Pro
Musica
Bona
.13
I. Un
instrument
excepţional: vocea umană
.17
1.
Aparatul
vocal
-
generalităţi anatomo-fiziologice
.17
2.
Etajele constitutive ale aparatului vocal: aparatul respirator, fonator,
rezonator, grupa organelor articulatorii, rolul aparatului sistemului nervos
şi al sistemului auditiv
.20
II.
Respiraţia
.23
1.
Elemente de anatomie şi fiziologie umană
.23
2.
Teoria respiraţiei în cânt
.29
2-а.
Tipuri de respiraţie. Despre respiraţia totală. Etape
.32
2.b. Influenţa şi importanţa respiraţiei în cântul de performanţă
.34
2.C. Gimnastica respiratorie. Exerciţii. Despre antrenamentul respirator.
35
2.d. Respiraţia şi cerinţele frazării în actul interpretativ
.39
2.e. Consideraţii asupra termenilor de impedanţă reîntoarsă pe
laringe,
presiune
subgloticã,
appogio, apnee
.50
2.f. Relaxarea şi mecanismul pneumo-fono-rezonator
.53
2.g. Defectele respiratorii şi repercusiunile lor în cânt
.58
3.
Pedagogi şi interpreţi vorbind despre respiraţie
. 60
III. Fonaţia. Rezonanţa. Articulaţia
.67
1.
Morfologia aparatului fonator
.67
2.
Influenţa glandelor endocrine asupra aparatului fonator
.69
2.a. Mutaţia vocii şi studiul tehnicii vocale la pubertate
.69
2.b. Influenţa sistemului endocrin asupra vocii
.71
3.
Funcţionarea aparatului fonator
.77
3.a. Sunetul uman. Teorii ale producerii sunetului
.77
3.b. Calităţile sunetului necesare în cântul de performanţă
.80
4.
Aparatul rezonator
.82
4.a. Rezonatorii
-
microfoanele portabile ale cântăreţului.
Descrierea cavităţilor cu volum variabil şi invariabil
.82
4.b. Rolul lor în procesul emisiei vocale
.85
5.
Grupa organelor articulatorii
-
descriere anatomică
.88
6.
Conexiunea pneumo-fono-rezonatorie, mecanism ideal pentru
dobândirea unei tehnici performante în teatrul liric şi în
protejarea aparatului vocal
.90
6
7.
Consideraţii asupra termenilor de ţesătură vocală, registrele vocii,
note de pasaj, diapazon vocal. Acoperire şi colorare în glas. Rezonanţă
de piept şi rezonanţă de cap
.96
IV.
Clasificarea vocilor cântate
.106
1.
Introducere
.106
2.
Vocile copiilor
.107
3.
Clasificarea vocii cântate
.110
V.
Igiena aparatului vocal
.123
1.
Profesioniştii vocali
.123
2.
Afecţiunile aparatului vocal. Afecţiuni ale organismului cu
repercursiuni asupra aparatului vocal.
Malmenajul
vocal
.124
3.
Medicamentele şi vocea
.129
4.
Echilibrul antrenament
-
odihnă şi randamentul vocal
.132
5.
Alimentaţia
.134
6.
Sexualitatea şi vocea
.136
VI.
Aparatul auditiv
.139
1.
Structura anatomo-fiziologică a aparatului auditiv
.139
2.
Auzul muzical şi coordonatele sale
.140
3.
Cântăreţul liric
-
între percepţia sunbetului şi senzaţiile interne
din timpul fonaţiei
.149
VIL Sistemul nervos central şi fonaţia sau
Introducere în psihopedagogia cântului vocal
.153
1.
Sistemul nervos
-
Elemente de morfofiziologie
.153
2.
Gândirea. Gândirea muzicală
-
coordonate
(perspectiva psihologică)
.156
3.
Limbajul. Limbajul interpretului liric
.161
4.
Autocontrolul şi relaxarea
.163
5.
Formarea priceperilor, automatismelor şi reprezentărilor în cânt
sau rolul sistemului nervos central
.167
6.
Memoria. Atenţia (Concentrarea)
.170
7.
Personalitatea artistului liric. Consideraţii asupra termenilor
de personalitate, temperament, caracter, inteligenţă
(inteligenţă muzicală)
.176
8.
Afectivitatea. Emotivitatea
.184
9.
Creativitatea
.186
10.
Fişa psihopedagogică a studentului la canto
.195
VIII. Pedagogia muzicală vocală-între ştiinţă şi artă
.199
1.
Ereditate şi mediu în formaţia muzicală
.199
2.
Stadialitatea educaţiei muzicale vocale. Etape în construirea şi
cizelarea vocii umane
.206
7
3.
Educaţia vocală a copiilor
.211
4.
Pubertatea şi studiul tehnicii vocale
.219
5.
Etapa studiilor vocale propriu-zise. Audiţia muzicală
.224
6.
Educarea ţinutei şi atitudinilor corporale sugestive. Defecte şi
corecturi
.225
7.
Antrenamentul respirator
.226
8.
Emisie. Dicţie. Articulaţie. Despre deschiderea gurii
.228
9.
Importanţa cunoaşterii termenilor de specialitate
.256
10.
Clasificarea tehnicilor vocale. Tehnica vorbirii scenice.
Vorbirea şi cântul
.257
11.
Analiza marilor metode de educare ale vocii cântate
.259
12.
Ce trebuie ştiut despre vocalize
.261
13.
Fişa repertorială a studentului la canto
.278
14.
Un bijutier original
-
profesorul de canto. Cerinţe.
Arta motivării. Model sau nu?
.280
15.
Colaborarea cu profesorul acompaniator. Nivele
.284
Bibliografìe
selectivă
.291
Summary
.305
CONTENTS
Preface
Pro
Musica Bona
.13
I. An Exceptional Musical Instrument: Human Voice
.17
1.
Vocal system-anatomical and physiological general presentation
.17
2.
The constitutive levels of the human voice
mechanisme:
breathing
fonation and resonance system, the group of articulation organs,
the importance of the hearing organ and of the nervous system
.20
II. Respiration-The Basic Pillar of The Vocal Technique
.23
1.
Anatomical and physiological human elements
.23
2.
The breathing's theory in singing process
.29
2.a. Different kinds of breathing. Levels. About the best type of
singing's breath-arguments
.32
2.b. Breath in performance singing: Influence and importancy
.34
2.C. Breathing's gymnastics. Setting-up
exercices
of breath.
Talking about breathing traitmant
.35
2.d. Respiration and musical phrase's demands
.39
2.e. Considerations about following therms: sub-glottis pressure,
impedance retroverting on larynx
.50
2.f. The relaxation and the vocal mechanism
.53
2
.g. Breathing errors and their consequences in singing
.58
3.
Teachers and performers talking about breath in scenic speech
and sing
.60
III. Fonation. Resonance. Articulation
.67
1.
Morphophysiology of the fonation's mechanism
.67
2.
The influence (the consequences) of the
endocrin
system
in fonation
.:.69
2.a. The changes of the voice in puberty's period and the
vocal study
.71
2.b. The influence of the
endocrin
system in voice
.71
3.
The functionality of the fonation system
.77
3.a. The human vocal
semnal
(sound).Theorys of fonation
.77
3.b. The qualities of human sound used in classic vocal singing
(bel-canto)
.80
4.
The resonance: portable microphones of the voice
.82
4.a. The resonance's organs: the portable microphones of the voice
.82
10
4
.b.
Description of the resonance cavities with invariable or
variable
volum
.85
5.
Articulation organs group-anatomical description
.88
6.
Breathing, fonetical and resonance conection: ideal mechanism
in technical construction of the voice and in protection of the vocal
system. Errors in fonation's and resonance's conduct
.88
7.
Considerations about following therms of the vocal technique:
vocal tissue, pitchfcompass) of the voice, ranges, passage's sounds.
Covering and colouring in singing voice
.96
IV. The Singing Voice Classification
.107
1
.Introduction. Norms (criterious) of the vocal classification
.107
2.The children voices
.108
S.Voice classification in the lyrical theatre. Norms of classifications.
Soprano,
mezzosoprano,
baryton,
bass, after the tissue and the
repertorial
direction
.110
V. The Vocal Hygiene
.123
1.
About vocal professionals
.123
2.
Affections of the vocal
mechanisme.
Affections of the body with
serious consequences in the functionality of the voice.
Vocal
malmanager
.124
3.
Drugs and the voice
.129
4.
The harmony between the vocal traitment and
repause
and
the vocal performance
.132
5.
The nutrition and voice
.134
6.
Sex and voice
.136
VI. Hearing System
.139
1.
Morphophysiology elements of the hearing system
.139
2.
Musical hearing and their co-ordinates
.140
3.
The
liric
singer
-
between the sound's perception and internal
sensations in fonation
.149
VII.
Central Nervous System and Fonation or Introduction in
Psycho-pedagogy of the Vocal Singing
.153
1.
Elements of morphophysiology
.153
2.
Musical thinking-diferrent aspects
.156
3.
The human language.The musical language
.161
4.
Autocontrol
and relaxation
.163
5.
Building representations, habits and abituels in the art of singing
and voice technique
.167
6.
Memory. Attention (Concentration)
.170
11
7.
The lyric artist personality. Considerations about pesonality's
notion, about character, inteligence (musical inteligence)
.176
8.
Affection.Emotion
.184
9.
Creativity
.186
10.
Psychopedagogy slip of the bel-canto student
.195
VIII.
The bel-canto pedagogy between science and art
.199
1.
Heredity and social.(and educational) environement in
musical formation
.199
2.
Stadiality of the vocal music education. Levels
.206
3.
The children's singing education
.211
4.
The Puberty and bel-canto study
.219
5.
The level of the proffesional sing education. The first audition
student-teacher
.224
6.
The espresive body carriage (scenis atituds) education.
Wrongs and corrections
.225
7.
The breathing traitmant-global vision
.226
8.
Talking about sound's
emisión.
Diction, articulation and the open
of the mouth
.228
9.
How important is to know, to understand and to aplly the
bel-canto techique language
.256
10.
The stage's talking and singing technique. Speech and singing
.257
11.
The analyse of the most important methods of classification and
education in singing voice
.259
12.
Talking about vocal exercises
.261
13.
The bel-canto
repertorial
slip
.278
14.
An original jeweller, bel-canto teacher. Demands.The art of
motivation. Model or not? Musical, pedagogical and artistic style
.280
15.
The colaboration with the accompanist pianist teacher. Levels
.284
Bibliography
.291
Summary
.305
Summary
In this book I intended to present a lot of the most important
things who has importance in the beautiful art of singing and voice
technique but I haven't
pretention
to finish this problematics. Begin¬
ning two years ago, was concepted like a course for students at the
bel-canto discipline and for the people who want to know and to
understand this complicate and very delicate process-building human
voice as an exceptional musical instrument. It's very interesting how
the singer is in the same time instrument and the instrument player.
More than this, the voice is an intransmissible and a live musical
instrument, and we must attach her construction using delicate
me¬
thodes
because it is very sensible. Any wrong way for her is dangerous,
more dangerous than more valuable is the voice, so, be very carrfully
with it and you'll have harmony conditions to
exceli
in artistic domain.
In Preface we talk about music and music interpretation, value,
this intoduction been a mesage for the students and vocal
performans
to progress in vocal tecnique and artistic espression for the public's
delight and we talk about
Musica
Bona, a
very special kind of music,
music for the elevation level of the human spirit.
First chapter, intitulated An Exceptional Musical Instrument:
Human Voice, is a general presentation of the vocal mechanism
(inclused the level of breathing, fonation and resonance), the group of
the articulation and hearing organs and their importance in speech
and singing process; also the nervous system.
The second chapter-Respiration-the basic pillar of the vocal tech¬
nique arhitecture
analise
elements of the anatomical and physiologycal
aspects, the breathing theory, about the whole respiration-the best
type of breath in singing, gymnastics and practice breathing exercises,
explaine some technical therms (sub-glottis-pressure, impedance,
apnee),
errors in breathing practice, and at last of this
capitol
we add some
diffrent
opinies
about the respiration in singing
.
Next chapter, Fonation, presents news aspects-puberty and vocal
study, theory of fonation, the qualities of the human sound used in
306
UN INSTRUMENT EXCEPTIONAL:
VOCEA
UMANA
performance singing, about articulation and resonance organs, the
conexión
of the vocal elements in practice .We present explanations
about vocal tissue, voice compass, diction, ranges of the voice, passage
sounds, colouring and covering in singing, about the fonems of the
speech.
The singing voice classification chapter
speechs
about hierarchy of
the voices in lyrical theatre and about children's voice carachteristics.
The fifth chapter-Hygiena-makes referrences at the vocal profes¬
sionals, talking about diffrent affections of the body and the voice,
about drugs and voice, sex and voice, the necessary harmony between
the vocal traitment and
repouse
in singing performance.
The sixth chapter-Hearing System presents some interesting as¬
pects of intern hearing in fonation at the singers, some particular dif¬
ferences hwo must to be understanding and apply
.
The seventh chapter-Central nervous
sistem
and fonation or Psycho-
pedagogy in singing treats musical memory, attention on the stage,
musical language, the artistic and human personality of the singers
(about characters, temperament and musical
inteligence).
Also, we
talk about creativity, affection and emotion, about the psychologycal
slip of the canto's students, how the building correctly representa¬
tions,
habituels
and abituels in singing.
The last chapter, The bel-canto pedagogy-modern vision traits
consequences of the heredity and the educational environements in
art of singing, children's period and vocal education, puberty and voice
technique, the
espressive
carriage education, breathing traitment-global
vision, speech and singing technique, about vocal esercises, the
reper¬
torial
slip of the canto's students.
Finally, this book is a work of beginning who can be up-date every
day, it's a guide but it cannot substitution the vocal coach; you'll not
learn to sing after you'll read it but you'll know more about the art of
■
singing and voice technique, and may be you'll
apreciate
better the
creation of the lyrical singers. |
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| illustrated | Illustrated |
| index_date | 2024-07-02T18:37:53Z |
| indexdate | 2024-07-09T21:06:06Z |
| institution | BVB |
| isbn | 9737022467 |
| language | Romanian |
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| spelling | Chelaru, Cătălina Ionela Verfasser aut Un instrument excepţional: vocea umană 1 Cătălina Ionela Chelaru Iaşi Tehnopress (2005) 306 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache (DE-604)BV022785525 1 Digitalisierung BSBMuenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015990971&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015990971&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Chelaru, Cătălina Ionela Un instrument excepţional: vocea umană |
| title | Un instrument excepţional: vocea umană |
| title_auth | Un instrument excepţional: vocea umană |
| title_exact_search | Un instrument excepţional: vocea umană |
| title_exact_search_txtP | Un instrument excepţional: vocea umană |
| title_full | Un instrument excepţional: vocea umană 1 Cătălina Ionela Chelaru |
| title_fullStr | Un instrument excepţional: vocea umană 1 Cătălina Ionela Chelaru |
| title_full_unstemmed | Un instrument excepţional: vocea umană 1 Cătălina Ionela Chelaru |
| title_short | Un instrument excepţional: vocea umană |
| title_sort | un instrument exceptional vocea umana |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015990971&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015990971&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV022785525 |
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