An English translation with commentary of an important first treatise on singing by Agricola.

Agricola published Introduction to the Art of Singing in Germany in 1757, consisting of the 1723 treatise of the Italian singing teacher and castrato, Tosi, to which Agricola added his own running commentary. The Introduction was recognized as invaluable not only for teachers and their pupils but also for advanced singers and professionals. This present edition, translated with introduction and annotations by the celebrated singer Julianne Baird, makes Agricola's work available for the first time in English. Tosi's work was the first basic treatise on singing; Agricola, a pupil of J.S. Bach at the court of Frederick the Great, brought Tosi's work "up-to-date." His commentaries are so extensive that the Introduction stands on its own as an important document in the history of performance practice.

Table of contents

Hiller's Treatise on Vocal Performance and Ornamentation was published in Germany in 1780 and is an important manual on vocal technique and performance in the eighteenth century. Hiller was a masterful educator and was active not only as a teacher but as a critic, composer, conductor and music director. Thus, his observations served not only to raise the standards of singing in Germany, based on the Italian model, but to present complicated material, particularly ornamentation, in a manner that his peers, the middle class, could emulate. This present edition, translated with an introduction and extensive commentary by musicologist Suzanne J. Beicken, makes Hiller's treatise available for the first time in English. With its emphasis on practical aspects of ornamentation, declamation and style it will be valuable to instrumentalists as well as singers and is a significant contribution to the understanding of performance practice in the eighteenth-century.

This volume brings together twenty-two of the most diverse and stimulating journal articles on classical and romantic performing practice, representing a rich vein of enquiry into epochs of music still very much at the forefront of current concert repertoire. In so doing, it provides a wide range of subject-based scholarship. It also reveals a fascinating window upon the historical performance debate of the last few decades in music where such matters still stimulate controversy.

The Vocal Athlete, Third Edition is written and designed to bridge the gap between the art of contemporary commercial music (CCM) singing and the science behind voice production in this ever-growing popular vocal style. Revised and expanded, this edition is a “must have” for vocal pedagogy courses and speech-language pathologists, singing voice specialists, and voice teachers. Heavily referenced, this text is ripe with current research on singing science as it relates to the CCM voice. Anyone who trains singers will gain insight into the current research and trends regarding commercial music artists. The text distinguishes itself from other academic pedagogy texts by incorporating comprehensive chapters on the physiology of belting, current peer reviewed literature in vocal training for CCM styles, and application in the voice studio. Included is the current information on our understanding of gender affirmation treatments and potential implications for singers. New to the Third Edition: * New comprehensive chapter titled Overview of Black American Music: History, Pedagogy & Practice by Trineice Robinson-Martin and Alison Crockett * Extended and revised sections in several chapters, including: The Singer’s Body Motor Learning Exercise Physiology Laryngeal Physiology Acoustics Phonotrauma Belting Research * Reference grid depicting where specific content areas for both the proposed NATS vocal pedagogy curriculum and the PAVA-RV can be found within the text * Updated references throughout the text

The intricacies and challenges of musical performance have recently attracted the attention of writers and scholars to a greater extent than ever before. Research into the performer's experience has begun to explore such areas as practice techniques, performance anxiety and memorisation, as well as many other professional issues. Historical performance practice has been the subject of lively debate way beyond academic circles, mirroring its high profile in the recording studio and the concert hall. Reflecting the strong ongoing interest in the role of performers and performance, this History brings together research from leading scholars and historians and, importantly, features contributions from accomplished performers, whose practical experiences give the volume a unique vitality. Moving the focus away from the composers and onto the musicians responsible for bringing the music to life, this History presents a fresh, integrated and innovative perspective on performance history and practice, from the earliest times to today.