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CONCEPTS OF VOCAL PEDAGOGY |
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ported by Novello-Davlei [430, p, 34] and ZerffL The tatter adds, however* that the ability to carry a tune is a prerequisite to vocal study* 'Thin does not mean that everyone can become a prominent ringer* There are wide differences in voice boxes." [699] Mowe maintains that
the old misconception that a good singing voice is limited to a very few who possess special endowments should be corrected by promulgating
an "everybody can sing" policy in the vocal teaching profession. "Good
singing depends on the proper use of the voice rather than on some 'extra part' in the throat o£ the singer that the non-singer does not possess/' [406; 403] Therefore, he adds, "we know and can say with authority that any normal person can develop a good [singing] voice/' [404] The New York Singing Teachers Association also endorses this viewpoint* [4a*]
Kirsten Flagstad insists that 'Voice alone has never made an artist/' There must also be "a musical character'1 behind the voice, vitality, self-discipline, quick thinking and "a complete independence of spirit/' [1,82] "Talent is not enough/' says Nelson Eddy, in an interview. One must also possess a tremendous love of music, irresistible drive to succeed, an aesthetic sense, business sense and common sense, [155] Good health, a passion tor singing, and a musical car must be added to good voice as "absolute requisites for vocal success/' according to Lombard!, [354] Finally, Miller presents as his twelve "foundation stones of good singing"; 1) intelligence? s) concentration; 3) ambition; 4) sense of joy and buoyancy of spirit; 5) ability to relax mentally and physically (freedom from •inhibitions); 6) general musicianship, including innate sense of rhythm; 7) fine memory; 8) personality and showmanship; 9) capacity for learning music and languages; 10) interpretational skill; 11) sensitive ear for music; isr) strong and healthy vocal apparatus. [599]
TOE VOCAL TRAINING PERIOD
When to begin vocal study. The opinions of three professional gingers agree that a vocal career, especially for girls, should not be started too early in life; not until the vocal apparatus has matured; perhaps not before the age of sixteen or seventeen* They advise using the early years for musical and general education and culture because such a background will immeasurably facilitate the vocal training program when it is started later* [Frances Alda 5; Gladys Swarthout 600; Lily Pons 451] Allen believes that the male voice generally is not ready for solo singing until the age of nineteen is reached, [7, p, 13] Ruff chooses sixteen as the age for girls' voices and eighteen for boys' voices, [476] Woods would begin voice culture in high school [687] Mursell and Glenn believe that |
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