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TRAINING THE SINGING VOICE
4. The singer's task is the "formation and utterance of musical ideas." fLewis 344, p. iii]
5. listen to yourself and see if what your voice says is conveying your meaning. When you learn the words to a song, try to express that
thought. [Clark 100; Sanders 488]
6. Vocal agility, good diction and other technical details are developed not by routine exercises, but by "the natural desire to express the mining; and consequently each word of a song." [Berg^re 45]
*. "The initiation of the muscular activity in phonation is a conscious desire for oral self expression." [Curry 124]
8. Successful singing must always be motivated by the desire to expires something. Always direct your thoughts and your voice toward an imaginary listener when you sing. [De Bruyn 131]
9. More technique is devoid of meaning. Therefore voice production must always be related to the expression of ideas until every sound conveys a meaning. [Taylor 602, p. 39]
10. 'Technique, if it is to fulfil its purpose, must be framed in expression." [Vale 619, p. 39]
11. The foundation of vocal education is to develop the "ability to express music with the voice ... to develop a musically intelligent singing voice, rather than a mechanically trained instrument." [Mur-seU and Glenn 413, p. 280 ff.]
Witherspoon holds that "even the singing of exercises should be done with some definite mood value." [676] Mme. Galli-Curci offers this advice: Do not think of your vocal cords in singing any more than you do in speaking. Instead, think entirely "about what you have to say [sing]." [197] An artist singer "is not merely an emitter of high C's; he is a medium through which musical communication must flow." [Lawrence Tib-bctt 614] *The significance of the music must come first," says Beniamino Gigli. [203] Kerstin Thorborg adds that the "ultimate goal" is to express "emotional and intellectual conviction" in singing. [612]
Singing as joyous release. Joyous release is a sense of well-being or exhilaration of spirits that is caused by the experience of beingjEree from restraint of any kind. In artistic singing, "there is a thrill and liberation of the spirit which is inimitable." [16] This principle is emphasized in 16 statements which affirm the belief that the experience of joyous release is an inevitable accompaniment of correct singing. "Effective singing must be associated with pleasant emotion," says Mursell. [411, p. 229] Therefore, vocal instruction should aim toward a joyous release of song rather |
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