Resonance in Singing and Speaking, by Thomas Fillebrown

Resonance in Singing and Speaking, by Thomas Fillebrown

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Resonance in Singing and Speaking, by Thomas Fillebrown

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Efforts to develop my own voice, and the voices of my patients after operations for cleft palate, aided by anatomical study, resulted in a plan for the focusing and development of the human voice quite different from any other yet published, or, so far as I know, yet proposed. This plan has proved so successful in my later life that I feel emboldened to offer it for the consideration of speakers and singers.

Resonance in Singing and Speaking, by Thomas Fillebrown

• Amazon Sales Rank: #6022639 in Books
• Published on: 2015-06-01
• Original language: English
• Number of items: 1
• Dimensions: 9.00" h x .17" w x 6.00" l, .24 pounds
• Binding: Paperback
• 72 pages

Resonance in Singing and Speaking, by Thomas Fillebrown

About the Author THOMAS FILLEBROWN. M.D. TWENTY-ONE YEARS PROFESSOR OF OPERATIVE DENTISTRY AND ORAL SURGERY IN HARVARD UNIVERSITY; MEMBER OF THE AMERICAN MEDICAL ASSOCIATION, THE ACADEMY OF DENTAL SCIENCE, THE NEW ENGLAND OTOLOGICAL AND LARYNGOLOGICAL ASSOCIATION, ETC.; LECTURER ON VOICE DEVELOPMENT.

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Most helpful customer reviews

2 of 2 people found the following review helpful. + Good Writer, but Remember that Scientific Parts are Dated By Bassocantor √ The author's preface states that the theories included here are based on work from 1903, and published in the "Art of Vocalism" in "The Etude" journal. The author hopes that his ideas and discoveries will be used by teachers of singing.▲ Certainly, there is much to like in this classic work--the problem is, many of the key points are now obsolete, or now known to be false. Now, that doesn't mean the material is worthless--it just means outdated. When this book was written in 1911, the theories espoused here were probably well-received.▲ One should not dismiss the entire book as irrelevant or wrong. No, of course, that is not true. For example, I thought Chapter VI, general discussions about resonance, was very insightful. Using a wind instrument, such as the french horn, to illustrate the fact of resonance is a good point. Here's another one--the author points out the fallacy of thinking that the vocal folds themselves produce the power. "The tone produced by the vibrations alone of the two very small vocal bands must, in the nature of things, be very feeble." The experiments suggested by the author in this chapter are really excellent.▲ Probably the biggest problem is the author's emphasis on nasal resonance, discussed in detail in Chapter VII, "Head and Nasal Resonance." For example, "It is only through free nasal resonance that the coordinate resonance in the air sinuses above the nasal cavity and connected with it can be established." Now it is perfectly understandable that 100 years ago, scientists thought there was resonance in the head sinuses. Since it feels like there is, that's not a bad assumption--just a wrong one. For what we known currently on this subject, the works of Johan Sundberg, in particular, would be a good reference.▲ Similarly, the author is adamant that there are no registers. "Chest, middle, head, and all other registers are creations of false education." In 1911, that statement might have been credible, but is clearly false. The different muscles that are used for different registers has been well widely documented and proven by numerous scholars. See, for example, the works of the late Richard Miller.▼ In the Kindle edition, the links to exercises and illustrations appear to be missing. Not sure what the links were supposed to activate. There were no illustrations. I presume the illustrations and figures are present in other editions.▲ "Resonance in Singing and Speaking" was a great book--at that time. For an aspiring singer or voice teacher, it would be much better to read books by modern scholars, using science that is not 100 years dated. For example, the following scholarly works would be a good starting place:Richard Miller, The Structure of Singing: System and Art in Vocal TechniqueJohan Sundberg, The Science of the Singing Voice√ From an historical perspective, this book is still useful, and many of the theories are still valid. The problem is, many of them have been proven false. Excellent writing, just outdated.♫ A Review by Chris Lawson

0 of 0 people found the following review helpful. Disappointing By Reader Hmmm, well, if you're going to sell a title that has exceeded copyright protection - especially one that can be found for free on the internet - shouldn't you AT LEAST include the illustrations and photos from the original source when the text refers to them repeatedly? I mean really! I bought this thinking it would be nice to have a hardcopy on hand for reference even if it costs a little money. Leaving out the illustrations and photos is a glaringly obvious case of not caring about the content of the original work much less the customer for this particular 'packaging' of the text.

1 of 2 people found the following review helpful. Excellent explanation By Amazon Customer I take singing lessons and new these concepts. This book does a brilliant job of explaining the various resonance chambers important for both speech and singing alike. Also, talks about misconceptions. The only negative point about this e-book is that images (e.g. throat, chest cavity) are missing and the explanation refers to them. That part is a bit inconvenient to read, but it's a bit technical, and I could do without the images as I skipped through it. The book is written by a Surgeon to help a patient or practitioner. But, I did not need all that technical detail. The rest of the explanation was enough for me as it lets you know what you are doing when you speak or sing, and gives an idea how you can make use of the resonance chambers or cavities for better speech and singing. Personally, I found the book useful.

See all 6 customer reviews... Resonance in Singing and Speaking, by Thomas Fillebrown

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Resonance in Singing and Speaking, by Thomas Fillebrown

Resonance in Singing and Speaking, by Thomas Fillebrown