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TRAINING THE SINGING VOICE |
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namics; discovering the natural range and resonance of the voice; building a song repertoire; etc
Coordination as a factor. Coordination is a primary technical objective of vocal teaching. Since the muscles of the body usually act in pairs or In coordinated groups, it is often difficult to infer the actions of individual muscles that contribute to a complex behavior pattern, except through an analysis of the constituent elements in the group. In effecting such an analysis, part methods of learning are employed which require the specific training of each muscle action in a coordinated pattern. A three-fold procedure is employed:
a) period of analysis: the isolation of simple technical problems out of faulty complex behavior patterns.
b) period of practice: drilling of each underdeveloped muscle member of a coordinated action"pattern until its proficiency level is commensurate with the expected efficiency of its parent group.
c) period of synthesis: individual skills are recombined into an integrated activity; i.e., coordinated or combined muscle movements are restored and practiced in toto. Balanced coordination is the key note of advanced practice in singing.
Standardization of vocal teaching. The belief that certain basic techniques in a singer's training can be standardized without loss of individuality in the final vocal product is a divided issue. Affirmative opinions find that such factors as pitch, resonance, dynamics, diction and posture can be approached through routine exercises whose purpose is to liberate, strengthen and refine the vocal instrument without impairing its individual characteristics- The danger of overtraining in a given technical routine is admitted.
Those who oppose standardization argue that each voice is a law unto itself; that teaching methods must vary from pupil to pupil; that no two voice are exactly alike; that standardization spells limitation in development. They are willing to accept basic principles and objectives in vocal teaching but insist that the methodology must remain free and variable.
METHODOLOGICAL CONSIDERATIONS
The psychological approach. Inasmuch as the psychologist believes in
the sovereignty of the mental processes in controlling and coordinating human behavior, the psychological approach in vocal teaching is predominantly an indirect approach through mental rather than physical training. The student's attention is fccussed upon thinking and hearing values in singing, not upon mere physical sensations. Such considerations as |
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