Introduction by Yehudi Menuhin,
Editor's Preface,
Part One - The Singer and the Voice,
1. Ancestral Voices - Keith Falkner,
2. The Physiology og the Voice - A S Khambata,
3. What Every Singer Should Know about the Voice - Alfred
Alexander,
4. The Secret World of the Singer - Macdonald Critchley,
Part Two - Becoming a Singer,
5. Training: the Singer as Technician - Keith Falkner,
6. Training: the Singer as Musician - Keith Falkner,
7. Early Stages - Meriel St Clair,
8. The Post-graduate - Roy Henderson,
9. The Young Professional Singer - John McCarthy,
10. The Life of a Singer Today - Janet Baker,
11. The Amateur - David McKenna,
12. Frustrated Professional or Contented Amateur - Philippa
Thomson,
Part Three - The Singers World,
13. Text and Voice in English Song - Peter Pears,
14. Singing a Folksong - Douglas Kennedy,
15. Singing in French - Pierre Bernac,
16. The German Lied - Hermann Reutter,
17. The Italian Singer - Tito Gobbi,
18. Spanish Song - Emilio Nuñez,
19. A Singers Survey of American Song - Helen Boatright,
20. Russian Song - Martin Cooper,
21. The Songs of Scandinavia - Kim Borg,
22. Hungarian Song - Rosemary Hardy,
23. Choral and Vocal Ensemble - David Willcocks,
24. Studying a Role - Thomas Allen,
25. Light Opera - Frederick Lloyd,
26. The Conductor and the Singer - Charles Groves,
27. The Accompanist and the Singer - Gerald Moore,
Some Remarkable Voices Preserved on Gramophone Recordings - A S
Khambata,
Discography - Wayne Turner,
Bibliography
Keith Falkner studied singing at the Royal College of Music and was a distinguished oratorio soloist, particularly noted for his interpretations of Bach. He became the British Council’s music officer for Italy, promoting English music and giving concerts himself. He moved to America to work as a singing professor at Cornell University and later returned to London to become Director of the Royal College of Music. Falkner worked tirelessly to develop and expand the College and was responsible for overseeing the construction of the South Building, the establishment of an electronic studio and the creation of a Museum of Instruments and Department of Portraits.
This is a lively and attractive volume, as varied and colourful in its tones as one might expect from the masters of the many tecniques discussed here. - Yehudi Menuhin
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