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211 pages, Paperback
First published June 1, 1972
An interesting examination of bel canto singing, explaining how the principles used in teaching singing technique have changed from concentrating on vowel purity to perfect intonation, to modern attempts to 'place' sounds, etc., via misunderstandings of old techniques and terminology. Reid explains the two registers of the voice according to bel canto ('chest' voice and 'head' or falsetto) and the painstaking efforts students were expected to make to perfect each register and only then combine them to eliminate the break in between. He also examines how new scientific methods have been able to determine how sounds are produced, but that these only tell us about vocal organs which are not under conscious control, and thus the information is of no practical pedagogical use (since nobody can 'produce a vibration of the vocal chords of 7 cycles per second' or similar on command).
Reid does go on a bit - reiterating and repeating the same points again and again, but the basic ideas are interesting and useful for vocalists.