| Share page | Visit Us On FB |
|
40 TRAINING THE SINGING VOICE
Fear contracts muscles and constricts throats. . . . Fear causes tension, and mental wheels will not turn when one is tense." [386] De Bruyn speals of fear as a state of mind that is inimical to correct voice production. *The concept of a beautiful tone and the accompanying fear of a high pitch do not go well together because the latter concept will tend to suppress the former." [132] (See also Chapter VI.) "Naturally," says Or-tm, "if we assume an attitude [mental] contrary to what we desire, we cfcfeat ourselves." Fear is largely caused by lack of confidence; a mental assumption which divides the mind during the performance of a duty. Hence, in singing, one's attention should be fixed on what is desired rather than on what one wishes to avoid. [439, p. 85; Hemery 238, p. 117] To overcome fear and self-consciousness "unrestrained practice" is essential. pill 272, p. 17]
Vccal inhibitions are most often contracted during infancy and adolescence, according to Madden. [366] Such psychological conditions as impatience, fear, anxiety, emotional upsets and self-consciousness provide chronic mental hazards that act as "deterrents to beautiful singing" in lata- life. [Samuel 486, Lesson 31] Invariably the various muscular interferences in singing stem from the mental attitude of the singer. [Shaw 5SS] Consequently, in correcting vccal inhibitions, "the first step towards toning is often unlearning." [Orton, op. clt] Waters believes that the breathing function is directly influenced by mental and emotional upsets Ike fear, worry, excitement, doubt or confusion. These generate either chronic inertia or abnormal tension in the respiratory muscles with resultant depletion of energy and strain of the vocal mechanism. [647, p. 5] Stanley finds that listening to oneself while singing inhibits the spontaneity of vocal expression. [577, p. 325] (See Chapter VIII.)
Specific preventives and correctives for overcoming inhibitions or fears in singing are seldom given by authors. Clippinger advises the teacher "not m tali about a vocal problem until after it is solved." [104, p. 30] A few minutes of deep breathing is suggested as a good corrective for ner-vousness and stage fright. [Hill 272, p. 18] Hemery proposes a self-critical attitude of thooghtfiil reflection and comparison, and improved concentration, as antidotes for fear and stage fright. [238, p. 115 ff.]
In coaduslon, Clippings* believes that a considerable part of the voice training program must be devoted to gaining freedom. [109] Sincerity and beauty of expression are derived from freedom. [Henley 264] "Freedom * . _ is a rarity In song. Artificiality and rigidity are far more prevalent." {HiU't;*, p. 5] But freedom is not the utter abandonment of technical *3Tof *g£<Jiwpline, according to Mme. Schoen-Ren& In her opinion |
||