Preface | p. ix |
List of Musical Examples | p. xiii |
The Voice Today: An Evaluation | p. 1 |
Vocal versus Non-Vocal | p. 1 |
The View Back | p. 7 |
How the Voice Works: A Composer's Perspective | p. 15 |
Vocal Categories | p. 19 |
Legato and Leaps | p. 21 |
Air and Breath | p. 26 |
Dynamics | p. 29 |
Flexibility and Stamina | p. 32 |
Composing Between the Notes | p. 35 |
Extended Voice Techniques | p. 40 |
Voice/Text/Music | p. 43 |
Text and Music | p. 43 |
Text and Voice | p. 48 |
The Nature of Language | p. 53 |
The Nature of the Singing Voice | p. 55 |
Vowels | p. 56 |
Diphthongs | p. 58 |
Consonants | p. 59 |
Sibilants | p. 60 |
Vibrato | p. 61 |
Text Effect | p. 63 |
Nudity and Performance | p. 63 |
Text Underlay in Scores | p. 65 |
Singing and Speaking | p. 68 |
The Singer and the Actor | p. 75 |
Differences Between Singers and Actors | p. 75 |
Similarities Between Singers and Actors | p. 81 |
The Synthesis of Music, Dance, and Drama | p. 82 |
Considerations of Style | p. 85 |
The Last Romantic Artist | p. 85 |
A Shopping List | p. 90 |
Some Composers' Solutions | p. 94 |
Singers on Composers | p. 141 |
Singers' Biographies | p. 141 |
Conclusions and a Way Forward | p. 153 |
The Ultimate Challenge of the Voice | p. 153 |
How Our Audience Hears | p. 158 |
Male and Female Voices: Reason versus Emotion | p. 160 |
Going for a Song | p. 164 |
Toward a Compositional Theory | p. 169 |
Educational Activities | p. 177 |
Street Songs | p. 180 |
Composing on One Note | p. 181 |
Songs without Words | p. 181 |
Words without Songs | p. 182 |
Identical Texts | p. 182 |
Time Limits | p. 184 |
One Breath | p. 184 |
Writing a Song for Children to Hear | p. 184 |
Improvisation | p. 185 |
Further Projects | p. 186 |
Vocal Nomenclature | p. 191 |
Soprano | p. 191 |
Mezzo-Soprano | p. 192 |
Alto | p. 192 |
Male Alto/Countertenor | p. 192 |
Tenor | p. 192 |
Baritone | p. 193 |
Bass | p. 193 |
An Application of the International Phonetic Alphabet | p. 195 |
Bibliography and Further Reading | p. 197 |
Index | p. 199 |
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