Resonance in Singing and Speaking

in Singing and Speaking, by
Thomas Fillebrown

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Title: Resonance in Singing and Speaking
Author: Thomas Fillebrown
Release Date: August 29, 2006 [EBook #19138]
Language: English
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RESONANCE IN SINGING AND SPEAKING ***

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RESONANCE
IN

SINGING AND SPEAKING
BY
THOMAS FILLEBROWN, M.D., D.M.D.
TWENTY-ONE YEARS PROFESSOR OF OPERATIVE
DENTISTRY AND ORAL SURGERY IN HARVARD UNIVERSITY;
MEMBER OF THE AMERICAN MEDICAL ASSOCIATION, THE
ACADEMY OF DENTAL SCIENCE, THE NEW ENGLAND
OTOLOGICAL AND LARYNGOLOGICAL ASSOCIATION, ETC.;
LECTURER ON VOICE DEVELOPMENT.
THIRD EDITION
[Illustration: THE MUSIC STUDENTS LIBRARY]
BOSTON OLIVER DITSON COMPANY
NEW YORK CHAS. H. DITSON & CO.
CHICAGO LYON & HEALY
Copyright, MCMXI BY OLIVER DITSON COMPANY
International Copyright secured
[Transcriber's Note: Text in bold is surrounded by =. Text in italics is
surrounded by underscores.]

TO THE MEMORY OF
WILLIAM HASKELL STOCKBRIDGE
PUPIL OF VANNUCCINI AND MY FIRST INSTRUCTOR IN
VOICE CULTURE, THIS VOLUME IS AFFECTIONATELY
DEDICATED

PREFACE
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.
In 1903 I prepared a series of papers on The Art of Vocalism, which
were published in The Étude in May, June, and July of that year. These
articles are incorporated in this work. In connection with different
organs and conditions, important principles are stated and restated. This
repetition is thought desirable in order that the fundamentals may be
kept prominently before the mind and impressed upon the attention.
I believe that a careful study of this volume will prove of essential
service to teachers and advanced pupils of singing and oratory,
especially to young teachers just entering upon their duties. Its method
will be found adapted to the instruction of pupils of all grades, from the
kindergarten to the Conservatory of Music and the School of Oratory.

I shall be gratified if this outcome of years of experience, constant
study, and tested methods shall prove helpful to those who seek
mastery of the art of beautiful speaking and singing.
[Illustration: [signature] Thomas Fillebrown]

CONTENTS
PREFACE vii
INTRODUCTION 1
I. THE VOCAL INSTRUMENT 6
II. THE SPEAKING VOICE AND PRONUNCIATION 16
III. BREATH CONTROL 23
IV. BREATHING EXERCISES 33
V. REGISTERS 38
VI. RESONANCE IN GENERAL 43
VII. HEAD AND NASAL RESONANCE 51
VIII. PLACING THE VOICE 56
IX. THROAT STIFFNESS 74
X. SOME GENERAL CONSIDERATIONS 77
XI. THE PSYCHOLOGY OF VOCAL CULTURE 82
BOOKS CONSULTED 86
INDEX 89

RESONANCE
IN
SINGING AND SPEAKING

INTRODUCTION
When a youth it was my lot to be surrounded by examples of faulty
vocalism, such as prevailed in a country town, and to be subjected to
the errors then in vogue, having at the same time small opportunity for
training in the application of principles, even as then imperfectly taught.
At middle life I had given up all attempt at singing and had difficulty in
speaking so as to be heard at any considerable distance or for any
considerable length of time. Professional obligations to my patients,
however, compelled me later to take up the subject of vocal physiology.
This I did, guided by the ideas current on the subject.
About 1880 I became satisfied that many of the current ideas were
incorrect, and determined to start anew, and to note in detail the