Peter T Harrison
singing teacher & author

With a Foreword by Malcolm Martineau this book develops the holistic perspective with regard to singing and shows how the various aspects of performance must be and can be coordinated in order to achieve excellence in terms of individual artistry and communication.

SINGING begins by expressing the need to define and identify The Singing Voice – first because singing can mean very different things to different people, second because the true human singing voice is something innate and universal and third because, as an instrument both of emotional expression and of music-making, it is quite unique and requires specialized treatment. Four headings serve as guidelines in satisfying this need: Structure (Anatomy and Physiology), Bel Canto (beautiful in the sense of music-making), Identity (individuality in quality and character) and Communication. Understood holistically these can help to keep the reader and the practitioner on track towards excellence.  

My contention with regard to singers' vocal training as such has always been that foundations are rarely adequate, that voices are rarely liberated. In terms of singers' general development, courses are rarely either sufficiently comprehensive or practical. Much genuine talent goes to waste. In Part II of SINGING, which I call The Work, I outline what I consider to be a holistic practical curriculum at tertiary level.

It is one thing to tick a list of requirements, like 'technique', languages, acting skills and so forth, quite something else to see how - and ensure that - these skills successfully interrelate and complement one another. Part III considers Conditions, including the attitude of participants in the organization and the developmental process, material matters, and the systems-thinking which are necessary for interdisciplinary coordination and complementariness.

Part IV – The Enshrining of Values - looks into education and co-operation as concepts, considers the realistic and fair measurement of students' progress and explores the idea of excellence. It goes on to discuss the responsibilities of educators and the need for consensus with regard to the training and education of singers, and touches on values with regard to the singer - as a unique voice, and their performance - as a creative act.




Page 69, paragraph 2 -  the relevant illustrations are 3.1 and 3.7
Page 69, paragraph 3,  line 10 -  (see illustration 3.1)
Page 199, paragraph 3 - masterclasses or a masterclass 

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