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Techniques of Singing (English and German Edition), by Nicholas Isherwood
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- Sales Rank: #1252975 in Books
- Brand: Baerenreiter Verlag
- Published on: 2012-11
- Original language: German, English
- Number of items: 1
- Dimensions: .84 pounds
- Binding: Paperback
Most helpful customer reviews
2 of 2 people found the following review helpful.
Definitely a Go-To Book
By kirsten
Nicholas Isherwood's book is proving a great resource for both teaching and performing.
As a teacher, this book is a wonderful resource for my students to get an overview of singing, especially the special demands of singing contemporary music. The contextualization of many of the "extended techniques" offered by Isherwood has made this music seem less intimidating and more approachable to many students!
As a performer, I fell in love with the repertoire chart at the back of the book. It is amazing to find many repertoire possibilities all in one place - and compiled by an active and very successful performer is even better!
I highly recommend this book for all voice teachers and classical singers.
2 of 2 people found the following review helpful.
Fantastic collection of contemporary vocal techniques and repertoire.
By Tjur999
Techniques of Singing, by Nicholas Isherwood, is a fantastic collection of contemporary vocal techniques and repertoire. This text is written by a performer and composer of both experience and ability...so the insights offered are earned and tested by this author. The wide ranging topics, such as microtonality, extreme registers, extended techniques, etc, are presented in a clear, concise, and thorough manor. I highly recommend this text for both performers and composers.
3 of 4 people found the following review helpful.
An excellent book, which should be required reading for any singer who intends to perform vocal music of the last 70 years
By Chris Gray
This an excellent book, which should be required reading for any singer who intends to perform vocal music of the last 70 years (or indeed the last 100, if one takes Schönberg's _Pierrot Lunaire_ as the watershed). Not only does Isherwood catalogue the numerous vocal techniques which composers have specified and clarifies the (often contradictory) explanations which they gave – which alone would make this book immensely valuable – he gives practical advice and exercises for each, and examples both in print and on the attached CD. Here Isherwood's extensive experience both as a performer and as a teacher of this repertoire shines through.
The book is aimed primarily at singers who have already mastered bel canto technique and seek to venture out of the “walled garden” into the wider world, which is probably the most common case. For performers coming from another direction (such as improvised vocal performance) the book will be less immediately accessible, but to succeed in this repertoire these singers will need to study classical technique anyway because for better or for worse most composers implicitly assume its presence.
Speaking of composers they too should read this book, or at least the first two chapters where Isherwood lists vocal and electro-vocal techniques and chapter 9, as it may help them avoid writing passages which “yield an unsatisfactory result from a singer with excellent technique and a disastrous result from one with mediocre technique”.
It is a pity that those singers for whom (apparently) musical civilisation ended with the outbreak of the Great War wil probably not open this book, because as Isherwood points out great singers of the past such as Fyodor Chaliapin have used many of the techniques described in the performance of classical and romantic music. Even a singer as “mainstream” as Dietrich Fischer-Dieskau can be heard by the careful listener to use an astonishing variety of vocal registers melded by technique and taste into a single “DFD sound”.
For some readers the book may be too short, leaving them with a hunger for more. They should hunt Isherwood down at one of his masterclasses.
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