How to Sing (Meine Gesangskunst) cover

How to Sing (Meine Gesangskunst)

Lilli Lehmann (1848-1929)

1. 00 - Preface; My Purpose; My Title to Write on the Art of Song
2. 01 - Section 1: Preliminary Practice
3. 02 - Section 2: Of the Breath
4. 03 - Section 3: Of the Breath and Whirling Currents
5. 04 - Section 4: The Singer's Physiological Studies
6. 05 - Section 5: Equalizing the Voice - Form
7. 06 - Section 6: The Attack and the Vowels
8. 07 - Sections 7-8: Nasal Singing; The Head Voice
9. 08 - Sections 9-12: Sensations of Tongue, Nose, Palate and Resonance of Head Cavities
10. 09 - Sections 13-14: On Vocal Registers; Development and Equalization
11. 10 - Sections 15-16: White Voices; Theodor Wachtel
12. 11 - Section 17: Highest Head Tones
13. 12 - Sections 18-19: The Tremolo; The Cure
14. 13 - Sections 20-21: The Tongue; Preparations for Singing
15. 14 - Sections 22-24: Position of the Mouth; Connection of Vowels; The Lips
16. 15 - Sections 25-27: The Vowel Sound Ah; Italian and German; Auxiliary Vowels
17. 16 - Sections 28-30: Resonant Consonants; Practical Exercises; The Great Scale
18. 17 - Sections 31-32: Velocity; Trill
19. 18 - Section 33: How to Hold One's Self when Practising
20. 19 - Section 34: Pronunciation - Consonants
21. 20 - Sections 35-36: Concerning Expression; Before the Public
22. 21 - Sections 37-38 and Note: Interpretation; In Conclusion; Remedy for Catarrh and Hoarseness

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Summary

Lilli Lehmann, born Elisabeth Maria Lehmann, was a German operatic soprano of phenomenal versatility. She was also a voice teacher.She wrote: "Every serious artist has a sincere desire to help others reach the goal—the goal toward which all singers are striving: to sing well and beautifully." This is the 1915 second (expanded) edition of her book and includes many illustrations and diagrams, both physiological and musical, which the listener will find useful.Much of Lilli Lehmann's advice is complex and demanding - the standards which she set for herself were beyond the highest aspirations of most professional singers. However, there is still much in this book that is enlightening to all those who are interested in using their voice to best advantage, both in song and the spoken word.