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CONCEPTS OF VOCAL PEDAGOGY *5
Frances Alda holds that the teacher must not only train the voice of the singer but he must also teach the singer how to preserve his voice for years to come. This is stated as one of the main objectives of vocal teaching. [6, p. 296] The muscular mechanism must be coordinated and strengthened, throughout its range, to sustain the full power of the voice and to render the vocal instrument "automatically responsive to the will of the singer." [Wilcox 668; also Lewis 343, p. 2] According to Haywood, singing instruction must rest on a triple foundation which includes technical voice development, the cultivation of style and skill in interpretation. [234] Wodell maintains that the first duty of the singing teacher is "to conserve the natural beauty of the young voice." [679] Other general objectives mentioned by authors include the following:
1. The appreciation of a tonal ideal through ear training. [Hall and Brown 227, p. 5]
2. Achieving a state of conscious, comfortable physical reaction to tone production. [Ibid.]
3. The complete subordination of technique to artistic expression in song. [Ibid.]
4. Developing "a musical mentality." [Mursell 411, p. 225; Clip-pinger 114; 104, p. 1]
5. Developing "automatic control of the vocal instrument." [Wharton 655, p. 59]
6. Building a song repertoire. [Henley 263]
7. Discovering the "natural voice through speech"; learning "to hold it in its natural position through breath control." [Stella Roman 475]
According to Fory, simplicity is the keynote of all vocal teaching. The early masters developed "a free vocal apparatus . . . , a good ear and artistic discretion." These lead to vocal success. [190] Austin-Ball claims that the main objectives of vocal training are "to develop in the mind of the student the right idea or concept of a beautiful tone" and also to cultivate, through exercise, optimum conditions in the instrument "through which the idea must be expressed." The old Italian method fostered this ideal. [31, p. 66] Barbareux-Parry believes that the achievement of all vocal teaching objectives are encompassed in a tworfold approach: a) the psychological approach, which deals with the mentality of the singer, his musicianship and artistic imagination; b) the technical approach, which deals with the physical preparation and "tuning" of the vocal instrument.
In short, vocal training simultaneously develops the vocal instrument |
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