Singing and Imagination: A Human Approach to a Great Musical Tradition

by Thomas Hemsley

This book is written on the belief that the essential basic principles underlying good singing are in themselves rather few, and very simple, but that their application is amazingly varied in light of the individual's needs. It is not intended as a manual of voice production, and does not concern itself with medical matters, nor directly with anatomy, physiology, and acoustics.

While not belittling the value of appropriate scientific investigation, Thomas Hemsley believes that modern methods of training have gone too far in the direction of the materialistic approach; that singing in all its aspects and at all times should be guided by the imagination, the feelings, and the intuition; that we have become so pre-occupied by voice per se and the vocal function since the advent of vocal science, that we too easily forget that singing is not voice, but modification of voice - "not only a language through which we understand the emotions of others, but also a means of exciting our sympathy with such emotions," (H. Spencer). This book can be seen as an attempt to redress the balance.

Genres: Music

216 pages, Paperback

First published June 4, 1998

Reviews

[Jamie · Rating 5 out of 5]

There are books written to satisfy the ego of the author and others to be the author’s tool to share to those who want to learn the knowledge he has accumulated along the years. This book is of the latter. One can clearly tell Thomas Hemsley is someone who has devoted most of his life into perfecting the art of singing. Side by side the reading of the book, I have dedicated my time in correcting the wrong practices that I have learned with my singing through terrible habits and exposure to wrong teachings. That made the reading of this book the slowest I’ve ever read a book (took me half a year almost). The book’s subtext goes “A human approach to great musical tradition” and this perfectly describes the difference between this book and other books about music. It centers around the singer being first and foremost, a human, a fact that is forgotten by a lot of music teachers and artists. With much confidence, I am certain this book is the best book about singing out there. It inspires you to take music seriously and discourages you to sing if the song is not from the heart.

[Vivian Lin · Rating 3 out of 5]

Really holistic take on singing, the connection of the mind and body linked with our primal instincts helped put singing into a naturalistic focus. Great singers are connected with their soul -- music is spiritual.

[Shane Hendrix · Rating 4 out of 5]

A perfect read for a singer like me... It helped me think in terms of marrying the technical and intuitive aspects of my singing.

[Madeline · Rating 5 out of 5]

Perfect combination between practical singing techniques and the deeper underlying imaginations.
It is an absolute gem to all singers, containing so much essential knowledge!

[Anna Lluna · Rating 4 out of 5]

Very insightful if you ignore all the fixation on vowels

[Yumi Kirtash · Rating 4 out of 5]

Hemsley believes that the basic and essential steps for good singing are not as many as it may seem, they are quite simple, but to be able to apply them one needs concentration and experimentation, it is also quite different from person to person. The book does not dwell in the scientific and medical approach of singing, yet, it does not belittle the value of appropriate scientific investigation, but Hemsley does believe that modern methods of training have gone too far in the direction of the materialistic approach.

What truly stimulates the voice to action is the urge to express something (give expression to thoughts and feelings through music).

Since he was a teacher himself, he writes that the process of becoming a good singer is long and requires patience and dedication, a teacher can help a lot during this process, but a bad one can do tremendous damage.

It stroke me very true this phrase: “It is essential for singers to be able to distinguish between the singing impulse and a state of personal excitement.” I mention it also to bring another wonderful thing about this book; what I found very useful with this is that the problems that many singers have are mentioned in it, and I actually found myself in them in many, since he also explains why these things happen in the first place it gives me tools to correct them.

It also offers few exercises here and there so one can try it by themselves, in general the book puts emphasis on experimentation, it is essential to discover oneself.
Throughout the book there are many quotes from other singing experts that he uses to either prove a point or further develop some of his arguments, of course they are teachers we have read about already, like Lamperti, Averino, Manén and many others, I found this very good, because it takes very good extracts from these author’s books, which also make you curious to read their books, thus enhancing your knowledge of your instrument and your profession.

The author himself says more than once that imagination is not enough to be able to sing well, there are many other factors within this; like posture, impulse, intention, preparation of what will come, breath, colour etc. However, singing in all its aspects and at all times should be guided by the imagination, the feelings, and the intuition.

Hensley’s thoughts can be resumed in this phrase: Your mind is the key to start off the process of singing.