THE PHILOSOPHY OF SINGING CLARA KATHLEEN ROGERS -. AY ir irrifh
ntrd frufh as rcZigion. W. nr. THACKERAY A22 fLozdgt 6e8im in
feelifig-wide In Ue great 7ims ifs Zusasc is kid, A724 narrwing a
fo iLozrt, staads gZrnicd, A nrmeless pyrnizid. JAMES RUSSELL
LOWELL NEW YORK HARPER S BROTHERS PUBLISHERS 893 WHOSE SPbPPATIlY
AND ENCOURAGEIIENT RAVE NADE THE IYRITING OF THIS BOOK POSSIBLE
CONTENTS PAGE INTRODUCTION .............. vii THE PHILOSOPHY OF
SINGING I. THE PURPOSE OF EXPRESSION IN ART . .. 3 ....... . . . .
. . . . . 11. THE EVOTIONS IN SINGIKG 14 111. THE MIND IN SINGING
27 IV. THE BODY ........ IS SINGING. 33 V. SPONTANETTY THROUGH
CONCE-UTRATIOY OF ENERGY. . ............ 40 11. AUTOIATISM.
............ 5I Part U hIECHhKIS31 AND TECHNIQUE I. IECHANISI
............. 67 . 11. BREATHING . . . . . . . . . . . . . . 73
111. THE THROAT IN BREATHIKG . . . . . . SO IV. SILENT EXERCISES,
AND HOW TO PRACTISE THEM . .............. 85 V. REGISTERS . .......
. ... 90 vi CONTENTS PAGE TECHXIQUE VI. THE FIPE ESSESTZALS OF
VOCAL 96 1 TOSE-TTACK. ........... g6 G THE Le.io AS DISTIXCT FRO11
THE POB- TAIPESTO, ............ 99 3 THE h1ss.t DI VOCE OR
CRESCENDO AKD IIISUESDO ........... 104 4 y0tE.t THEIR REL-4101 TO
THE REGIS- TERS, AXD THEIR EFFECT OK THE VOCAL SCALE .
............. ro7 5 Gosscr.isa.s ............ 116 TII. How TO STUDY
. . . . . . . part lllll APPLIi4TION AXD ELUCID-4TION OF THE PHI-
LOSOPHY OF SIXGIKG 122 I. DRAMATIC EXPRESSION AND ITS RELATION TQ
THE EVOTIOXS ......... I35 11. THE SCALE OF THE EMOTIONS . . . . .
. 146 111. ACTION IN h-ICTION, OR THE TRUE RELA- TION OF PASSIVITY
TO ACTION . . . . . 155 IT. RHITHAIICAL BREATHING AND ITS RELATION
TO SISGINC 162 . . . . . . . . . . V.INDIVIDUALITY IN ART . . . .
VI. A TORD ABOUT TEACHING VII. STAGE-FRIGHT ITS CAUSE VEII.
SCIBIXRY ....... 170 184 AND ITS CURE . IS ........., .... 209
INTRODUCTION THIS little book contains tlie convictions which are
the summing up of my whole artistic life. I have written it, first
and foremost, for myself. I felt that the only way to recognize
fully and clearly what my conclusions really are, was to for-
mulate and express them. I take it for granted that there must be
others who are beset by some of the same perplexities tvhich have
made my art- life a constant struggle to attain that security of
expression which would enable me at all times to voice that
something of beauty and perfection stirring and urging within me,
to which I couId seldom give adequate utterance. To such
unsatisfied souls, the concPusions which I have reached in my
struggles after the true lams of expression may be helpful, and
therefore, in giving my book to the public, it is to these that it
is especially addressed. Were I to cite one half of the tentative
and speculative theories tvhich have brought me di- rectiy or
indirectly to my present conclusions, there v-ould be material
enough to fill several quarto volumes. But when all theories and
ideas are sifted, and the solid, fupdamental truths sep- arated
from the chaff of speculation, it is astonish- ing into how small a
compass they may be com- pressed. This is, therefore, but a little
book. But small as it is, it represents a quarter of a century of
con- stant groping and reaching out for the true prin- ciples which
govern the art of singing in its high- est aspect, which is the
most eloquent and direct expression not only of the individualized
soul, butalso of the great universal soul itself. This treatise
might as properly be called l The Philosophy of Life as The
Philosophy of Sing- ing. Some of my readers who are looking for
hethods of singing will probabIy consider tlie former a. more
appropriate title than the latter. I tvill therefore state, as
simply as possible, why I call it The Philosophy of Singing...
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