| Acknowledgements |
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11 | (2) |
| Introduction L'Invitation au Voyage (Duparc) |
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13 | (6) |
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Where the Music Comes From (Lee Hoiby) |
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19 | (20) |
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19 | (20) |
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26 | (2) |
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28 | (1) |
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29 | (2) |
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31 | (1) |
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32 | (3) |
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35 | (1) |
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36 | (1) |
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37 | (2) |
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It don't mean a thing (Duke Ellington) |
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39 | (26) |
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39 | (26) |
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39 | (3) |
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The Senses: Hearing Touch |
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42 | (3) |
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Motions, Senses of Balance, Space, and Time |
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45 | (3) |
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48 | (5) |
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53 | (4) |
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57 | (4) |
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61 | (3) |
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Things you can do for yourself to improve body image |
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64 | (1) |
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O wusst ich doch den Weg zuruck (Brahms) |
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65 | (16) |
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Musical Development in Childhood |
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65 | (16) |
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65 | (5) |
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70 | (1) |
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The Communication Habits of the Singer |
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71 | (10) |
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Sometimes I Feel Like a Motherless Child or I Think I Can, I Think I Can |
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81 | (25) |
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81 | (25) |
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Psychology in a Voice Lesson |
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81 | (6) |
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Adolescent Growth Patterns |
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87 | (3) |
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Self-Identity, Self-Management, Self-Esteem |
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90 | (3) |
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93 | (1) |
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The Need for Acceptance---New Relationships |
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94 | (1) |
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95 | (1) |
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96 | (1) |
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96 | (2) |
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98 | (8) |
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Homme aux paroles pleines, Femme aux yeux partage (Eluard/Poulenc) |
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106 | (11) |
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106 | (11) |
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107 | (1) |
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108 | (1) |
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109 | (2) |
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111 | (2) |
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Gender, Emotion, and Singing |
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113 | (4) |
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Vissi d' Arte, Vissi d' Amore (Puccini/Tosca) |
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117 | (17) |
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The Psychology of Performance |
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117 | (17) |
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118 | (1) |
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119 | (3) |
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122 | (7) |
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129 | (5) |
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Io son l'umile ancella del genio creator (Cilea, Adriana Lecouvreur) |
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134 | (26) |
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Realizing the Singer's Full Potential |
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134 | (26) |
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Singer-Teacher Relationship |
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137 | (2) |
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The Psychological 5-C's of Artistic Growth |
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139 | (1) |
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140 | (4) |
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144 | (5) |
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149 | (2) |
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151 | (4) |
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155 | (1) |
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156 | (4) |
| Supplement A Paola Novikova's Early Life Story |
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160 | (7) |
| Supplement B Resources for Career Planning |
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167 | (2) |
| Supplement C Movement Arts |
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169 | (7) |
| Bibliography |
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176 | (23) |
| Index |
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199 | |
