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36 TEAMING THE SINGING VOICE
garding the meaning of the term relaxation, caused, in large measure, by cnTiftitfng the concepts of relaxation with those of rigidity and inertia. [La Forest 326* p. 155] Rigidity or tightness implies the absence of flexibility in a muscle and considerable resistance to change of form or movement. On the other hand, during a condition of inertia, there is complete muscular Inaction; the Inert muscle is utterly "destitute of motivating power" and a languid or lifeless condition prevails. Relaxation is an intermediate state between these two extremes. In relaxation, neither rigidity nor inertia exists; but a condition of muscular tonus in which healthy tension or partial contraction of muscle fibres is present, even while muscles are at rest. (W) During a state of relaxation, "the maintenance of the sustained [involuntary] contraction known as tonus is apparently not associated with Increased expenditure of energy, . . . consequently no signs of fatigue are manifested." [Starling's Physiology 713, p.
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According to Mursell and Glenn, "relaxation means the freeing of [any] positive movement from the pull of antagonistic muscle groups." It is not a static condition of musdes, joints or throat, but "it depends entirely 011 the type and control of movement" employed. [413, p. 244] When intrusive, voluntary controls conflict with an otherwise automatic or spontaneous muscular action, obstructing muscular tensions are gen-eiated. Relaxation means the elimination of such conflicts between parts of the vocal tract, [Herbert-Caesari 269, p. 146] In other words, relaxation is a relative condition calling for the absence of abnormal tightness, not looseness of the vocal organs. [Henderson 243, p. 29]
The apparent confusion of terminology in this area has caused some writers to abjure relaxation as a teaching nostrum, while others attempt to clarify the concept of relaxation by using synonymous expressions or explanatory statements like the following:
1. Avoid rigidity, but never relax. [Brown 78, p. 116]
2* The Ideal condition for singing is "controlled relaxation." [Allen
3. Relaxation is always "a relative condition," never absolute. [Eley
160; Austin-Ball 31, p. 9]
4- It (relaxation) is not "the slumping together, non-control" that is present in slap; but rather, **an expansive . . . vitalized . . , tension in the muscles doing the work." [Gladys Swarthout 599]
5-^ "A better word [fee relaxtion] is coordination, which means that particular degree of relaxation or non-relaxation enabling us to get the desire! tonal result with the least waste of energy." [Ortmann 437] |
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