The truth in singing, according to Hedley Nosworthy, is that the human voice is subject to the laws of nature. Scientific study of the voice over the past half-century has resulted in many changes and breakthroughs. Singing: The Truth Be Told is a summary of the voice science and pedagogy that encompasses both the technical and artistic aspects of singing. The author states the book offers “... insights into the nature of music, anatomy, physiology and physics, encapsulated music history, performance practice, vocal technique and its health, artistry and style.” It is intended for singers in all genres, from concert to commercial.
The volume is divided into two broad sections. The first focuses upon technique, and consists of chapters devoted to posture, inhalation, exhalation, phonation, acoustics, diction, vocal coordination, voice classification, vocal practice, and mental practice. The second part investigates various aspects of performance, from artistry to characterization, and from historical styles to physical health. Each topic is presented in brief, easy-to-read chapters. Bullet points indicate important points, and numerous diagrams and illustrations aid in the explanations. Where applicable, the author includes pertinent exercises, and student worksheets appear at the end of each chapter.
Nosworthy demonstrates a laudable ability to elucidate, in a clear manner, the salient aspects of singing. The text also presents topics that are often overlooked by singers and their teachers, such as cognitive health in singing. The author draws upon numerous excerpts from the pedagogic corpus by voice teachers and scientists such as William Vennard, Ingo Titze, Johan Sundberg, Richard Miller, and Robert Sataloff, to name only a few. Sources range from The Oxford Dictionary of Music to standard music appreciation texts.
The first of three appendixes is an introduction to the rudiments of music. The section presents basic musical terms-such as those pertaining to tempo, dynamics, and form-as well as an explanation of pitch and rhythm notation. The second appendix is a comprehensive overview of the International Phonetic Alphabet (IPA), complete with common words in English, Italian, German, French, and Spanish as a basis for pronunciation, and the International Phonetic Association's summation of the IPA symbols. This section also contains a listing of abbreviations commonly used in music.
The final appendix is an extensive catalogue of suggested song repertoire. The wide-ranging list encompasses a staggering assortment of vocal music: folk songs from Asia and Eastern Europe; European carols; classical songs in English, French, German, Italian, and Spanish; opera arias; sacred songs; spirituals; selections from Gilbert and Sullivan operettas and music theater; and popular music, including country and western. No scores are included, nor is there guidance in regard to the level of difficulty or for whom the song may be appropriate. (The exception is the category of opera arias that is organized by voice type; however, there is no mention of Fach, and the titles on the list range from Gershwin to Wagner.)
The repertoire list as a whole, which spans Paul Simon to Puccini, underlines that Nosworthy addresses the book to singers of all styles of music. Throughout the text, the author touches upon aspects of all styles of singing, as in a discussion of breath use in the belt voice, or in the repertoire required for a music theater audition. Teachers will appreciate the complete package of information, encompassing anatomy, acoustics, physiology, and psychology. Despite the lack of specificity regarding repertoire, the volume contains clear explanations, illustrations, and diagrams, as well as a useful summary of style via an exposition of music history and an expansive overview of the IPA. Singing: The Truth be Told could serve as a reference for singers of all levels. Debra Greschner’s Review from January/February 2012 issue of the Journal of Singing, Volume 68 Number 3