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| Introduction | |
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| Core singing | |
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| Key issues in singing today | |
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| The approach to teaching and learning | |
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| The language of the mind | |
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| Developing talent | |
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| Learning to trust the voice | |
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| Awareness and responsibility | |
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| The human energy field and singing | |
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| Defining the human energy field | |
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| Components of the human energy field | |
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| Invisible aspects of the energy field | |
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| Mental aspects | |
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| Emotions | |
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| Psychological influences | |
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| Psychic aspects | |
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| Spiritual aspects | |
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| Physical aspects | |
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| Singers as masters of their own energy fields | |
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| Take responsibility for learning | |
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| Take responsibility for thoughts and language | |
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| Pay mindful attention to each practice and lesson | |
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| Treat all colleagues, peers and teachers with respect | |
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| Be centered and aware | |
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| Vocal pedagogy in the 21st Century | |
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| Working with the Whole student | |
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| Right - left brain balance in teaching and learning | |
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| Co-responsibility in learning and the establishment of trust | |
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| Use of language that enriches teaching and learning | |
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| Self-development as the core of teaching and learning | |
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| The responsibility of the teacher | |
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| Continue to be a lifelong student | |
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| Learn to coach the mental aspects of performance | |
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| Create a positive studio atmosphere for learning and performing by having a physical, mental, emotional and spiritual safe haven for every student | |
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| Be grateful for each student | |
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| Be professional about the business of singing | |
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| The responsibility of the student | |
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| Objectivity | |
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| Extra-curricula development complementary to singing | |
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| Elimination of mind chatter and excessive self-criticism | |
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| Meaningful practice and rehearsal | |
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| Find ways to monitor progress | |
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| Have the courage to take performance risks | |
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| Be grateful for your talent | |
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| The future of vocal pedagogy | |
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| What every singer needs to know: Co-ordination, spontaneity and Artistry | |
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| Co-ordination | |
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| Spontaneity | |
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| Artistry | |
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| Love of singing | |
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| Dedication to the work of singing | |
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| Individuality | |
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| Emotional involvement | |
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| Personality and magnetism | |
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| Performance that transcends the ordinary | |
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| On becoming a dynamic singer | |
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| The role and function of the voice: an overview | |
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| Communication | |
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| Psychological factors | |
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| Psychological factors | |
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| Acoustic and environmental factors | |
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| Psychological factors of communication | |
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| Physiological factors | |
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| Acoustic factors | |
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| Perception | |
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| Posture and breathing in singing | |
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| Posture and physical alignment | |
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| Respiration | |
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| Quiet respiration | |
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| Inspiration | |
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| The diaphragm | |
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| The intercostal muscles | |
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| Other muscles of inspiration | |
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| Expiration | |
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| The abdominal muscles | |
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| Other muscles of expiration | |
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| Subglottic pressure | |
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| Summary: breathing for singing | |
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| Phonation | |
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| The anatomy of the vibratory mechanism | |
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| The function of the vocal folds in singing | |
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| The onset of sound | |
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| Neurological factors of phonation | |
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| Physiological factors of phonation | |
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| Pitch | |
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| Range | |
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| Vibrato | |
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| Registers | |
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| Subglottic pressure and vocal intensity | |
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| Summary | |
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| Resonation and vocal quality | |
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| The anatomy and physiology of the pharynx | |
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| The constrictors | |
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| the relatively slender longitudinal muscles which shorten the length of the pharynx | |
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| The muscles of the soft palate | |
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| A summary of the acoustics of the vocal tract | |
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| Vowel formation | |
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| Vocal quality | |
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| Factors which affect vocal quality | |
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| Overly active facial muscles | |
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| The position and movement of the lower jaw | |
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| Rigidity of the tongue | |
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| Tension in the neck | |
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| Tension in the chest | |
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| Emotional tension | |
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| Focus and intensity | |
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| Some misconceptions regarding resonance | |
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| Conclusion | |
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| Articulation | |
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| Vowels and consonants: a summary | |
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| Vowels | |
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| Consonants | |
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| The mechanism of articulation | |
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| Anatomical aspects of articulation | |
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| Fixed structures | |
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| Movable structures | |
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| The mandible | |
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| The lips | |
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| The tongue | |
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| Summary | |
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| Vocal health | |
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| General health and nutrition | |
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| Hoarseness | |
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| Allergies | |
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| Respiratory disease | |
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| Vocal misuse | |
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| Hoarseness of psychogenic origin | |
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| Drugs | |
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| Smoking | |
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| Special vocal problems of women | |
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| Surgical procedures pertinent to singers | |
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| Singers and their doctors | |
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| Complementary health professionals available to singers | |
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| Care of the voice | |
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| Research in singing | |
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| New areas of potential research in singing | |
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| The limitations of our current research | |
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| Areas for the adventurous to investigate | |
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| Summary: Exciting possibilities ahead | |
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| Appendices | |
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| A Classification of singers for research | |
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| Categories of singers | |
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| Classification Chart | |
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| Study Outlines for Vocal Anatomy | |
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| Introductory notes on anatomy | |
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| Notes about muscle tissue | |
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| Muscle action and terms of movement | |
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| Respiration | |
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| Phonation - the larynx | |
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| Pharynx and soft palate | |
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| Soft palate | |
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| Muscles of mastication | |
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| The tongue | |
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| Muscles of facial expression | |
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| References | |
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| Author index | |
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| Subject index | |