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Cornelius L. Reid

January 01, 1970

Cornelius Lawrence Reid (Jersey City, NJ, February 7, 1911 - New York City, NY, February 3, 2008), was a well-known vocal pedagogue in New York City, specialist in the bel canto technique, and author of books on bel canto.

The Modern Singing Master: Cornelius L. Reid, 2002

Life edit

Childhood

 
Trinity Church in 1914

As a boy of nine Reid became a chorister in the choir of Trinity Church, New York. This time of regular singing in a good choir at a young age had a profound influence on him: "Retrospectively, one of the great advantages of the training given the choirboys of Trinity Church at that time was that the technique of tone production was never a matter for discussion. To the contrary, we were simply encouraged to sing musically and to pronounce the words distinctly. Singing itself was the object of study, not the mechanics of singing. Looking back over the many decades I have been teaching singing, this has been a continuing emphasis, the purpose being to communicate through the act of singing itself."[1]

Vocal fatigue

When his voice changed from soprano to baritone, he had voice lessons with various teachers in New York, including the vocal scientist Dr. Douglas Stanley for whom he was an assistant from 1934 to 1937. Through vocal strain brought on by confusing and contradictory voice training, he was forced to abandon a career in singing. He began to question the teaching methods being used and this induced him to develop his own ideas on functional vocal training, which, while completely based on earlier Italian methods, were combined with insights afforded by modern science. "...I spent hours at the New York Public Library researching books on vocal pedagogy. I had been so outraged because of the incompetence of the teaching I had experienced and witnessed that I was determined to search for better answers. I had come to realize that my vocal situation was not unique in that many promising young singers had been victimized. Indeed it appeared to be the rule rather than the exception."[2] Dr. Stephen F. Austin also supports the researching of earlier books on bel canto: "...there are wonderful sources that can help us get back on track. Tosi's Observations on the Florid Song, Mancini's Practical Reflections on the Art of Singing are two great places to start. At first you may find the lack of detail frustrating. Specific exercises are rare, but the principles are stated clearly, and therein lies their greatest worth. These early writings lay the foundation for the work of C. Reid. He didn't invent the two-register theory, but he certainly rediscovered it and has made it available and useful. There are many valuable resources that every voice teacher should know: the writings of the Lampertis, García, Stockhausen, and of course, Cornelius Reid."[3]

Research and teaching

In the 1940s Cornelius Reid was a pioneer in the research into the writings of singers and teachers (17th to 19th century) on early vocal techniques. This led him to write seven books and many articles on singing and bel canto. He taught voice in New York City for almost seventy five years, teaching until shortly before his 97th birthday. Many of his students have become well-known singers and voice teachers. He was invited to give many master classes in North America, Europe, as well as in Japan and Australia. His teaching has had influence on the teaching of singing in North America, Europe and Asia. Several cities in Germany offered 1- and 2-week master classes with him for up to eight years. His influence in Germany can easily be seen in the German version of Wikipedia: see the article: "Gesangsregister".[4]

Criticism

Reid and others who have written about bel canto in the modern period, have inevitably been going against the mainstream and thus have always been open to criticism. Pedro de Alcantara, an Alexander teacher, supports both Reid as well as Husler/Rodd-Marling, who published Singing: The Physical Nature of the Vocal Organ[5] in 1965: "The free-thinking Reid and the collaborating duo of Frederick Husler and Yvonne Rodd-Marling have put forth watertight arguments for the correct relationship of cause and effect as regards breathing and singing. Their books have proved highly controversial, yet their detractors, rather than disproving the points made by their writers, have resorted to ad hominem attacks such as 'He is crazy.' Alexander was fond of saying that 'it doesn't alter a fact because you can't feel it'. We can expand the dictum to say that it does not alter a fact because you cannot understand it, nor because you can not accept it."[6] When Reid's first three books were published as a Trilogy in 1975, Richard Dyer-Bennet wrote: "Today's world, in all its aspects, seems to vacillate between mechanistic and mystical approaches to problems. As always, the true path lies somewhere between the extremes, and Reid indicates the path. Due partly to misinterpretation and partly simply to neglect, contemporary teachers have deserted the old, productive principles of bel canto. As author and teacher, Reid has now firmly re-established these principles and, with added insights of his own, leaves us with no excuse to again lose our way."[7]

Writings on Bel canto

Reid's first book Bel Canto: Principles and Practices came out in 1950 and was followed by The Free Voice: A Guide to Natural Singing in 1965 and Voice: Psyche and Soma, 1975. These were later reprinted by the Joseph Patelson Music House in 1975 as a Trilogy. In 1977 he was awarded a grant by the Ford Foundation to compile A Dictionary of Vocal Terminology - An Analysis - the only one of its kind. Several more books came out in the 1990s including Essays on the Nature of Singing and a translation of Vocal Exercises: Their Purpose and Dynamics was published in Germany. For his 90th birthday a festschrift The Modern Singing Master: Essays in Honor of Cornelius L. Reid was published. Debra Greschner wrote in the Journal of Singing: "The annals of voice pedagogy are filled with references to singing masters of the bel canto era. Editors Ariel Bybee and James E. Ford, in their choice of title for this compendium, simultaneously acknowledge that pedagogical tradition and pay homage to the teacher they believe follows in that lineage: Cornelius L. Reid. Reid's publications are well known to any serious student of voice pedagogy."[8] Several of his books have also been translated into German, Japanese and Korean.

Pedagogy edit

 
Isaac Nathan, c. 1820

Reid's teachings were based on the books of famous voice teachers of the 17th to the 19th centuries. They included Giulio Caccini, Pier Francesco Tosi, Giovanni Battista Mancini, Domenico Corri, Francesco Lamperti, Giovanni Battista Lamperti, Manuel Patricio Rodríguez García, Isaac Nathan and Julius Stockhausen.

In the festschrift Stephen F. Austin honors Cornelius Reid and those that have studied with him: "Only rarely does one find a voice teacher employing a method in which the registers of the voice are being used in the way that made singing in the bel canto era the greatest that mankind has known. If such a teacher is discovered, it is most likely that he or she has been influenced, directly or indirectly, by one man. Cornelius Reid has made a singular contribution to vocal pedagogy because he has kept the ancient traditions of teaching as established and tested in the fire of the eighteenth-century opera houses alive in the twentieth century—and now the twenty-first century."[9]

A summary of Reid's pedagogy appeared in the Journal of Singing: "Reid's approach rests upon the two register theory and a belief that the only factors that can exert voluntary control upon the involuntary laryngeal muscles are pitch, intensity and vowel. Exercises employing various combinations of these three controls, in combination with the use of "functional listening"—a careful analysis of the registrational balances—will result in a free technique."[10]

Musical Education edit

  • Choirboy in the Trinity Church Choir, Wall Street, New York, 1920–1925.
  • Private vocal study with Dr. George Mead, New York, 1929.
  • Private vocal study with Marie Wagner (pupil of Lilli Lehmann), New York, 1929–1930.
  • Private coaching with Frieda Hempel, New York, 1930.
  • Private coaching with Povla Frijsh, New York, 1932–1940.
  • Private vocal study with Dr. Douglas Stanley, New York, 1934–1937.
  • Studied at New York College of Music, New York, 1945–1947 with Dr. Frederick Kurzweil and Ruth Kisch-Arndt.
  • Piano with Carl Werschinger, Professor Angela Weschler.[11]

Chronology edit

Publications edit

Books

  • Bel Canto: Principles and Practices. Boston: Coleman & Ross, 1950. Reprinted, New York: Joseph Patelson Music House, 1975. ISBN 0-915282-01-1
  • The Free Voice: A Guide to Natural Singing. Boston: Coleman & Ross, 1965. Reprinted, New York: Joseph Patelson Music House, 1975. ISBN 0-915282-02-X
  • Voice: Psyche and Soma. New York: Joseph Patelson Music House, 1975. Reid's first three books were published as a trilogy in 1975. ISBN 0-915282-00-3
  • A Dictionary of Vocal Terminology - An Analysis. New York: Joseph Patelson Music House, 1984. Reprinted, Huntsville, TX: Recital Publications, 1995. ISBN 0-915282-07-0, Reprint: ISBN 0-9663862-0-5
  • Essays on the Nature of Singing. Huntsville, TX: Recital Publications 1992. ISBN 0-9663862-1-3
  • Funktionale Stimmentwicklung: Zweck und Bewegungsablauf von Stimmübungen. Translated by Margaret Peckham and Leonore Blume, Mainz: Schott, 1994. Original Title: Vocal Exercises: Their Purpose and Dynamics. New York: 1988, unpublished. ISBN 3-7957-0268-2
  • The Modern Singing Master: Essays in Honor of Cornelius L. Reid. Edited by Ariel Bybee and James E. Ford. Lanham, MD & London: Scarecrow Press, 2002. ISBN 0-8108-4241-6

Articles

  • "Vocal Mechanics and the Cultivation of Listening Skills". Published on Cornelius Reid's web site.
  • "Voice Science: An Evaluation", Australian Voice, Volume 11, (2005), 6-24.
  • "Eighteenth Century Registrational Concepts", Journal of Singing, Volume 56, No. 4, (March/April 2000), p. 31-38.
  • "Vocal Mechanics", Journal of Singing, Volume 54, No. 1, (Sept/Oct 1997), 11-18.
  • "The Nature of Resonance", The Journal of Research in Singing, Volume XIV, (December 1990), No. 1, 1-26.
  • "The Nature of the Vibrato", The Journal of Research in Singing, Volume XIII, No. 1, (June 1989, 39-61.
  • "The Nature of Natural Singing", The Journal of Research in Singing, Volume XI, No. 2, (June 1988, 3-29.
  • "The Intensity Factor in Vocal Registration", The Journal of Research in Singing, Volume IX, No. 1, (December 1985), 43-60.
  • "Science and Vocal Pedagogy", The Journal of Research in Singing, Volume VII, No. 2, (June 1984), 21-33.
  • "Functional Vocal Training" (Two part Essay), The Journal of Orgonomy, Volume 4, No. 2, (December, 1970), 231-249, and Volume 5, No. 1, (March,1971), 36-64.
  • "Liturgical Speech", Bulletin of the General Theological Seminary, 1965.

Master classes edit

Students of Cornelius Reid edit

References edit

  1. ^ Cornelius L. Reid. "Sixty Years on the Bench". In: The Modern Singing Master: Essays in Honor of Cornelius L. Reid. Lanham, MD and London: Scarecrow Press, 2002, 307.
  2. ^ Cornelius L. Reid. "Sixty Years on the Bench". In: The Modern Singing Master: Essays in Honor of Cornelius L. Reid. Lanham, MD and London: Scarecrow Press, 2002, 308-314.
  3. ^ "Confessions of a Golf-Playing Voice Scientist." Stephen F. Austin. In: Australian Voice, Volume 4, (1998), 1-4.
  4. ^ de:Gesangsregister
  5. ^ Frederick Husler & Yvonne Rodd-Marling. Singing: The Physical Nature of the Vocal Organ: A guide to the unlocking of the singing voice. London: Faber and Faber, 1965.
  6. ^ Pedro de Alcantara. Indirect Procedures: A Musician's Guide to the Alexander Technique. New York: Oxford University Press, 1997, 91-92
  7. ^ Richard Dyer-Bennet. On Jacket Cover: Trilogy. New York: Joseph Patelson Music House, 1975.
  8. ^ "Bookshelf". Debra Greschner. In: Journal of Singing (National Association of Teachers of Singing) Volume 60, No. 4, (March/April 2004) 411.
  9. ^ "Scientific Support for the Two-Register Theory" Stephen F. Austin. In: The Modern Singing Master: Essays in Honor of Cornelius L. Reid. Edited by Ariel Bybee and James E. Ford. Lanham, MD & London: Scarecrow Press, 2002, 75.
  10. ^ "Bookshelf". Debra Greschner. In: Journal of Singing (National Association of Teachers of Singing) Volume 60, No. 4, (March/April 2004) 411.
  11. ^ Baker's Biographical Dictionary of Twentieth-Century Classical Musicians. Nicolas Slonimsky, Laura Kuhn and Dennis McIntire. Schirmer Books, New York, 1997, p. 1109. ISBN 0-02-871271-4.
  12. ^ "About Pattie Kelly", vocalsense.ca, 2013

External links edit

  • Website about Cornelius L. Reid

January 01, 1970
cornelius, reid, cornelius, lawrence, reid, jersey, city, february, 1911, york, city, february, 2008, well, known, vocal, pedagogue, york, city, specialist, canto, technique, author, books, canto, modern, singing, master, 2002, contents, life, pedagogy, musica. Cornelius Lawrence Reid Jersey City NJ February 7 1911 New York City NY February 3 2008 was a well known vocal pedagogue in New York City specialist in the bel canto technique and author of books on bel canto The Modern Singing Master Cornelius L Reid 2002 Contents 1 Life 2 Pedagogy 3 Musical Education 4 Chronology 5 Publications 6 Master classes 7 Students of Cornelius Reid 8 References 9 External linksLife editChildhood nbsp Trinity Church in 1914 As a boy of nine Reid became a chorister in the choir of Trinity Church New York This time of regular singing in a good choir at a young age had a profound influence on him Retrospectively one of the great advantages of the training given the choirboys of Trinity Church at that time was that the technique of tone production was never a matter for discussion To the contrary we were simply encouraged to sing musically and to pronounce the words distinctly Singing itself was the object of study not the mechanics of singing Looking back over the many decades I have been teaching singing this has been a continuing emphasis the purpose being to communicate through the act of singing itself 1 Vocal fatigueWhen his voice changed from soprano to baritone he had voice lessons with various teachers in New York including the vocal scientist Dr Douglas Stanley for whom he was an assistant from 1934 to 1937 Through vocal strain brought on by confusing and contradictory voice training he was forced to abandon a career in singing He began to question the teaching methods being used and this induced him to develop his own ideas on functional vocal training which while completely based on earlier Italian methods were combined with insights afforded by modern science I spent hours at the New York Public Library researching books on vocal pedagogy I had been so outraged because of the incompetence of the teaching I had experienced and witnessed that I was determined to search for better answers I had come to realize that my vocal situation was not unique in that many promising young singers had been victimized Indeed it appeared to be the rule rather than the exception 2 Dr Stephen F Austin also supports the researching of earlier books on bel canto there are wonderful sources that can help us get back on track Tosi s Observations on the Florid Song Mancini s Practical Reflections on the Art of Singing are two great places to start At first you may find the lack of detail frustrating Specific exercises are rare but the principles are stated clearly and therein lies their greatest worth These early writings lay the foundation for the work of C Reid He didn t invent the two register theory but he certainly rediscovered it and has made it available and useful There are many valuable resources that every voice teacher should know the writings of the Lampertis Garcia Stockhausen and of course Cornelius Reid 3 Research and teachingIn the 1940s Cornelius Reid was a pioneer in the research into the writings of singers and teachers 17th to 19th century on early vocal techniques This led him to write seven books and many articles on singing and bel canto He taught voice in New York City for almost seventy five years teaching until shortly before his 97th birthday Many of his students have become well known singers and voice teachers He was invited to give many master classes in North America Europe as well as in Japan and Australia His teaching has had influence on the teaching of singing in North America Europe and Asia Several cities in Germany offered 1 and 2 week master classes with him for up to eight years His influence in Germany can easily be seen in the German version of Wikipedia see the article Gesangsregister 4 CriticismReid and others who have written about bel canto in the modern period have inevitably been going against the mainstream and thus have always been open to criticism Pedro de Alcantara an Alexander teacher supports both Reid as well as Husler Rodd Marling who published Singing The Physical Nature of the Vocal Organ 5 in 1965 The free thinking Reid and the collaborating duo of Frederick Husler and Yvonne Rodd Marling have put forth watertight arguments for the correct relationship of cause and effect as regards breathing and singing Their books have proved highly controversial yet their detractors rather than disproving the points made by their writers have resorted to ad hominem attacks such as He is crazy Alexander was fond of saying that it doesn t alter a fact because you can t feel it We can expand the dictum to say that it does not alter a fact because you cannot understand it nor because you can not accept it 6 When Reid s first three books were published as a Trilogy in 1975 Richard Dyer Bennet wrote Today s world in all its aspects seems to vacillate between mechanistic and mystical approaches to problems As always the true path lies somewhere between the extremes and Reid indicates the path Due partly to misinterpretation and partly simply to neglect contemporary teachers have deserted the old productive principles of bel canto As author and teacher Reid has now firmly re established these principles and with added insights of his own leaves us with no excuse to again lose our way 7 Writings on Bel cantoReid s first book Bel Canto Principles and Practices came out in 1950 and was followed by The Free Voice A Guide to Natural Singing in 1965 and Voice Psyche and Soma 1975 These were later reprinted by the Joseph Patelson Music House in 1975 as a Trilogy In 1977 he was awarded a grant by the Ford Foundation to compile A Dictionary of Vocal Terminology An Analysis the only one of its kind Several more books came out in the 1990s including Essays on the Nature of Singing and a translation of Vocal Exercises Their Purpose and Dynamics was published in Germany For his 90th birthday a festschrift The Modern Singing Master Essays in Honor of Cornelius L Reid was published Debra Greschner wrote in the Journal of Singing The annals of voice pedagogy are filled with references to singing masters of the bel canto era Editors Ariel Bybee and James E Ford in their choice of title for this compendium simultaneously acknowledge that pedagogical tradition and pay homage to the teacher they believe follows in that lineage Cornelius L Reid Reid s publications are well known to any serious student of voice pedagogy 8 Several of his books have also been translated into German Japanese and Korean Pedagogy edit nbsp Isaac Nathan c 1820 Reid s teachings were based on the books of famous voice teachers of the 17th to the 19th centuries They included Giulio Caccini Pier Francesco Tosi Giovanni Battista Mancini Domenico Corri Francesco Lamperti Giovanni Battista Lamperti Manuel Patricio Rodriguez Garcia Isaac Nathan and Julius Stockhausen In the festschrift Stephen F Austin honors Cornelius Reid and those that have studied with him Only rarely does one find a voice teacher employing a method in which the registers of the voice are being used in the way that made singing in the bel canto era the greatest that mankind has known If such a teacher is discovered it is most likely that he or she has been influenced directly or indirectly by one man Cornelius Reid has made a singular contribution to vocal pedagogy because he has kept the ancient traditions of teaching as established and tested in the fire of the eighteenth century opera houses alive in the twentieth century and now the twenty first century 9 A summary of Reid s pedagogy appeared in the Journal of Singing Reid s approach rests upon the two register theory and a belief that the only factors that can exert voluntary control upon the involuntary laryngeal muscles are pitch intensity and vowel Exercises employing various combinations of these three controls in combination with the use of functional listening a careful analysis of the registrational balances will result in a free technique 10 Musical Education editChoirboy in the Trinity Church Choir Wall Street New York 1920 1925 Private vocal study with Dr George Mead New York 1929 Private vocal study with Marie Wagner pupil of Lilli Lehmann New York 1929 1930 Private coaching with Frieda Hempel New York 1930 Private coaching with Povla Frijsh New York 1932 1940 Private vocal study with Dr Douglas Stanley New York 1934 1937 Studied at New York College of Music New York 1945 1947 with Dr Frederick Kurzweil and Ruth Kisch Arndt Piano with Carl Werschinger Professor Angela Weschler 11 Chronology editTeacher of Voice 1934 2008 in New York City Assistant to Dr Douglas Stanley 1934 1937 Conducted WPA Music Project Chorus 1939 1940 1939 New York World s Fair Flushing NY Teacher of Voice 1940 1941 Marymount College Tarrytown NY Conductor Ars Musica Guild Chorus 1941 1943 Flushing NY Conductor Consolidated Edison Chorus 1941 1943 Queens NY Conductor 107th US Navy Seabees Band 1943 1945 Teacher of Speech 1946 1969 General Theological Seminary Chelsea NY Adjunct Professor Teachers College Columbia University New York City 1992 2008Publications editBooks Bel Canto Principles and Practices Boston Coleman amp Ross 1950 Reprinted New York Joseph Patelson Music House 1975 ISBN 0 915282 01 1 The Free Voice A Guide to Natural Singing Boston Coleman amp Ross 1965 Reprinted New York Joseph Patelson Music House 1975 ISBN 0 915282 02 X Voice Psyche and Soma New York Joseph Patelson Music House 1975 Reid s first three books were published as a trilogy in 1975 ISBN 0 915282 00 3 A Dictionary of Vocal Terminology An Analysis New York Joseph Patelson Music House 1984 Reprinted Huntsville TX Recital Publications 1995 ISBN 0 915282 07 0 Reprint ISBN 0 9663862 0 5 Essays on the Nature of Singing Huntsville TX Recital Publications 1992 ISBN 0 9663862 1 3 Funktionale Stimmentwicklung Zweck und Bewegungsablauf von Stimmubungen Translated by Margaret Peckham and Leonore Blume Mainz Schott 1994 Original Title Vocal Exercises Their Purpose and Dynamics New York 1988 unpublished ISBN 3 7957 0268 2 The Modern Singing Master Essays in Honor of Cornelius L Reid Edited by Ariel Bybee and James E Ford Lanham MD amp London Scarecrow Press 2002 ISBN 0 8108 4241 6 Articles Vocal Mechanics and the Cultivation of Listening Skills Published on Cornelius Reid s web site Voice Science An Evaluation Australian Voice Volume 11 2005 6 24 Eighteenth Century Registrational Concepts Journal of Singing Volume 56 No 4 March April 2000 p 31 38 Vocal Mechanics Journal of Singing Volume 54 No 1 Sept Oct 1997 11 18 The Nature of Resonance The Journal of Research in Singing Volume XIV December 1990 No 1 1 26 The Nature of the Vibrato The Journal of Research in Singing Volume XIII No 1 June 1989 39 61 The Nature of Natural Singing The Journal of Research in Singing Volume XI No 2 June 1988 3 29 The Intensity Factor in Vocal Registration The Journal of Research in Singing Volume IX No 1 December 1985 43 60 Science and Vocal Pedagogy The Journal of Research in Singing Volume VII No 2 June 1984 21 33 Functional Vocal Training Two part Essay The Journal of Orgonomy Volume 4 No 2 December 1970 231 249 and Volume 5 No 1 March 1971 36 64 Liturgical Speech Bulletin of the General Theological Seminary 1965 Master classes editMusicians Club Chicago IL 1965 Musicians Club Richmond VA 1966 English Bach Festival Oxford England 1967 New York City under the aegis of The Immaculate Heart College Los Angeles CA 1967 National Association of Teachers of Singing 1975 1976 1986 1997 Westminster Choir College Princeton NJ 1978 Midwestern State University Wichita Falls TX 1979 Niederrheinische Musik und Kunstschule der Stadt Duisburg Germany 1984 1996 1997 1998 1999 2000 2001 2002 Hochschule fur Musik und Theater Munchen Munich Germany 1985 New York University New York City 1985 Teachers College Columbia University New York City 1989 1993 1997 Ithaca College Ithaca NY 1991 Syracuse University Syracuse NY 1992 Colgate University Hamilton NY 1995 Hoch Conservatory Frankfurt and The Frankfurt Tonkunstlerbund Germany 1995 1996 1997 1998 1999 2000 2001 2002 Staatliche Hochschule fur Musik und Darstellende Kunst Mannheim Germany 1996 Congress of the Bundesverband Deutscher Gesangspadagogen Munich Germany 1997 School of Music University of Washington in Seattle 1998 New York Singing Teachers Association 1998 2003 Guildhall School of Music London England 1998 Wiesbadener Musik amp Kunst Schule Wiesbaden Germany 1998 2000 2001 Hochschule fur Musik und Darstellende Kunst Frankfurt am Main Germany 1999 Howard Park Pentecostal Church Toronto Canada 2000 First Baptist Church New York City 2000 Konservatorium der Stadt Wien Vienna Austria 2001 2002 Folkwang Hochschule Essen Werden Germany 2001 2002 Theatre de Vevey Vevey Switzerland 2002 Mainz Hochschule Mainz Germany 2002 Hunter Wade Studios Chatham New York 2002 School of Music Syracuse University Syracuse New York 2002 American Center for the Alexander Technique New York City 2005 The Hartt School University of Hartford Hartford Connecticut 2005Students of Cornelius Reid editMargaretha Bessel Edmund Brownless Ariel Bybee Clamma Dale Peggy Dufour Lenora Eve Joel Ewing Carole Farley Carol Baggott Forte Rouwen Huther Madeline Kelly Pattie Kelly 12 Robert Manno Donald Maxwell Dan Merriman Julian Patrick Gary R Ramsey Susan von Reichenbach Jorg Schnass Diane Severson Mori Ellen Shade George Shirley John Stewart Dorothy Stone Cynthia Strike Petrow Sebastian Vittucci Mallory Walker Dirk Weiler Wendy WhiteReferences edit Cornelius L Reid Sixty Years on the Bench In The Modern Singing Master Essays in Honor of Cornelius L Reid Lanham MD and London Scarecrow Press 2002 307 Cornelius L Reid Sixty Years on the Bench In The Modern Singing Master Essays in Honor of Cornelius L Reid Lanham MD and London Scarecrow Press 2002 308 314 Confessions of a Golf Playing Voice Scientist Stephen F Austin In Australian Voice Volume 4 1998 1 4 de Gesangsregister Frederick Husler amp Yvonne Rodd Marling Singing The Physical Nature of the Vocal Organ A guide to the unlocking of the singing voice London Faber and Faber 1965 Pedro de Alcantara Indirect Procedures A Musician s Guide to the Alexander Technique New York Oxford University Press 1997 91 92 Richard Dyer Bennet On Jacket Cover Trilogy New York Joseph Patelson Music House 1975 Bookshelf Debra Greschner In Journal of Singing National Association of Teachers of Singing Volume 60 No 4 March April 2004 411 Scientific Support for the Two Register Theory Stephen F Austin In The Modern Singing Master Essays in Honor of Cornelius L Reid Edited by Ariel Bybee and James E Ford Lanham MD amp London Scarecrow Press 2002 75 Bookshelf Debra Greschner In Journal of Singing National Association of Teachers of Singing Volume 60 No 4 March April 2004 411 Baker s Biographical Dictionary of Twentieth Century Classical Musicians Nicolas Slonimsky Laura Kuhn and Dennis McIntire Schirmer Books New York 1997 p 1109 ISBN 0 02 871271 4 About Pattie Kelly vocalsense ca 2013External links editWebsite about Cornelius L Reid Retrieved from https en wikipedia org w index php title Cornelius L Reid amp oldid 1217845676, wikipedia, wiki, book, books, library,

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