Scientific knowledge of vocal acoustics has grown exponentially in the last eighty years. With sophisticated yet inexpensive sound analysis technology, more voice teachers are curious about the value of vocal acoustics for the studio and see the need to understand it for more efficient, science-informed pedagogy.
Kenneth Bozeman distills the most important vocal acoustic principles and insights for contemporary teachers and singers. With concise and easy-to-understand language, the book takes these complex concepts and imparts practical tips and strategies that anyone can use in their teaching and singing. Unlike many other singing texts, this book focuses on the voice as an acoustic phenomenon. Bozeman addresses a myriad of topics including:
Bozeman addresses a myriad of topics including:
Also included are vocal exercises implementing these concepts.
Kenneth Bozeman, tenor, was the Frank C. Shattuck Professor of Music at Lawrence University Conservatory of Music in Appleton, Wisconsin, where he was chair of the voice department and taught voice, and voice science and pedagogy.
About the Author
2 Harmonics Primer
3 Overview of the Changing Theories of Vocal Resonance
4 Formants Primer
5 Harmonic/Formant Interactions
6 Female/Treble Voice Resonance Strategies
7 Male Passaggio Training
8 Perceptions of Turning Over
9 Pedagogic Implications of Tube Acoustics
10 Pedagogic Strategies that Encourage Tube Stability and a Convergent Resonator
11 The Acoustics of Belting
12 Semantic Differences
13 Acoustic Explorations
14 Corollary Strategies
15 Laryngeal Registration Revisited
16 Instructional Technology
Appendix 1: Madde Explorations
Appendix 2: Approximate F1 Locations by Voice 1
Appendix 3: Events Surrounding the Male Passaggio
Appendix 4: Youtube Examples
Bozeman presents this complex material conciseley and practically in a way that everyone can understand intellectually, aurally, and kinesthetically. Teachers of singing, rejoice!
The science presented in this book is not only easily understood but is also presented in such a way that it can be directly implemented into the singing teacher's toolkit. I am so confident in its content that I use it as a required textbook in my graduate voice acoustics course.