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46 TRAINING THE SINGING VOICE
year investigation conducted by the author. [36] Ortmann reports, further, that "the muscular coordination involved in singing is not present in the usual throat position or in normal speech. Consequently, inferences from the speaking voice cannot be directly applied to the singing* voice." [437] Stanley finds that "the average intensity of the singing voice is far greater than is that of the speaking voice." Also, the pitch norm of the speaking voice "is considerably lower than is that of the singing voice.*' [578] Finally, Curry speaks of singing as "an artistic form of voice modified by melody and rhythm to produce a pleasing harmony of music and voice. ... In speech the dominant fundamental pitch of the larynx vibration is present in about 60 per cent of the duration. ... In singing the larynx vibrates during at least 90 per cent of the duration/' [124, p. 1] (For a further comparison of singing and speaking concepts, see also Chapters IX and X.)
TECHNICAL APPROACH
Technical principles and objectives. Techniques are the practical methods used in the execution, performance and mastery of any art. (W) "The ability to produce musical results with a given instrument, as the voice, . . . depends on a variety of skills [or techniques] and their integration In the performance of musical composition." The specific way of presenting instructional materials embodying these skills (techniques) constitutes the technical approach in teaching. [Dictionary of Education 706] Dunkiey maintains that, since vocal study Includes the study of various physical actions and their proper control, technical training becomes an inevitable part of the singer's preparation. [151, p. 11] "We can only Improve what we can control," says Henderson. [240, p. 80] Elizabeth Reth-berg believes that all singers require a considerable degree of technical training, "I Insist," she adds, "that the best 'natural* voice is the result o£ much experimentation and hard work." [463] Lawrence Tibbett likewise claims that technical training Is Inevitable. Even after you have cultivated the student's sense of tone and educated his taste "you still will have to teach him to sing." [613] Haywood describes voice culture as a form of physical training. "In this department of our study we must establish a perfect coordination of all the physical parts used In singing/' [234] Zerffi goes so far as to call singing "nothing more than musical athletics/' requiring an intensive routine of physical drills. [701]
Shaw lists the following as technical objectives in voice training: a) good phonation for all tones sung, whether singly, in scale, or in arpeggio passages; b) elimination of strains and superfluous effort; c) agreeable quality; d) control of dynamics or gradations of power; and e) correct die- |
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