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CONCEPTS OF VOCAL FED/ ^OGY |
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than a meticulous mechanization of the phonatory process. "Our principle is in effect a demand that all singing shall be done for joy. . . . The child must sing because he loves to sing, or not at all; and . . . anything that interferes with the pupil's pleasant feeling tone In the act of song works against voice control. [Murseli and Glenn 413, p. 286 and p. 291 ft] Scott finds that the best singing comes "from the sheer joy of singing" [501, p. 126]; and Novello-Davies is certain that a voice radiating the beauty of living "and the joy and happiness created within oneself" is far more effective than one that is only mechanically perfect. [430, p. 64] Berto likewise claims that singing should be a joy, rather than a task. When pupils learn this principle, "we shall see fewer distorted faces while singing." [46] A buoyant, joyous mood releases muscles, corrects faulty mechanisms and makes for efficient functioning of the voice. [Wharton 655, p. 50; Wilcox 669, p. 13] As Kirkpatrick puts it, "Beauty of expression is the reflection of a beautiful thought. Depression precludes the possibility of a buoyant voice for the mind sits in regal state and rules -with unchanging laws." [317] According to Wilcox, even if you are only vocalizing a few "ahs" and "ohs," first spend a few minutes in imaginative practice until a mood of buoyancy is generated. Then vocalize the sounds in "the spirit of joyous song." [670] In conclusion, Christine Little advises the vocal student to maintain a pleasant, relaxed and mobile facial expression while singing. "Always look as if you were happy," she says. "Singing is an expression of joy." [349] When thought and mood values are right during the performance, the joy of singing will supersede mere exhibitionism. [16]
Singing as compared to speaking. Fifty-three concepts of the relationship existing between singing and speaking pedagogies are summarized in two main groups, consisting of: I) 43 opinions that favor the use of certain speaking analogies for training the singing voice, and II) 10 that are opposed to the use of so-called sing as you speak methods, in whicri speaking analogies are used to explain singing techniques.
Group I: Seashore finds it "very significant that the scientific approach is practically the same for music [song] and speech." "As a rule," lie says, "scientific findings in one of these fields transfer in principle to the other." [505] Wilcox claims there is no fundamental difference between the singing and speaking voice. Both function under the same laws and are "subject to development through the same (teaching) processes.*' [66o,p. 58] Other typical comments supporting the same general viewpoint are represented in the following summarizing statements;
1. The only technical difference between song and speech is that the latter is not governed by pitch and time values. [Hathaway, 231, p. 15] |
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