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66 TRAINING THE SINGING VOICE
ley 578] Allan's comment is also relevant at this point. "The amount of strain which has to be borne by the voice, if the work is pitched too high, cannot fail to wear out and distort the instrument prematurely. . • -Every teacher who understands his work ought to know where to stop." [4] To avoid such strains, it is suggested that songs should be transposed to suit the vocal compass, rather than the vocal compass stretched to suit the song.
Opinion also varies as to the treatment of first vocal lessons. Suggestions include the stressing of corrective aspects of early teaching, simplification of instruction, diagnostic and exploratory approaches and the use of such materials and devices as single tones, intervals, the isolation of registers, moderate use of dynamics and the song approach.
The song approach. Whole versus part methods of training are delineated in this controversial topic. Singing a song is a whole activity, embodying the complete act of vocal expression. Practicing a vocal exercise is a part activity, involving only a small technical subdivision of the singer's art. "Learn to sing by singing" is the motto of the proponents of the whole method, the song approach. "Wait until your technique Is ready, then sing!** say its opponents. The issue is clearly defined and there is some merit on either side.
In using the song approach, technical problems are considered only as the need arises, during the actual singing of songs. By a judicious choice of song literature the student's singing repertoire can be planned so as to encompass every needful technical problem of voice production, breathing, resonance, etc Thus the song performs a dual pedagogical role; the means and the end are combined.
The negative viewpoint is equally clear. Unless the student has at his command a thoroughly trained and habitualized vocal technique, he will find himself beset with technical limitations and cannot devote himself exclusively to the spirit of singing. Furthermore, as Aikin puts it, "the singer must know how to direct his technical ability, and must have some distinct mental intention in singing, or the performance will be nothing more than the mechanical recitation of words and notes." [Op. cit.] The paradox of part method technical training is therefore apparent: before he can enjoy the freedom of singing, the student must first learn to conserve, control and direct his vocal resources. Thus, vocal discipline spells vocal freedom. The issue here rests.
PRINCIPLES AND PROCEDURES USED IN PRACTICING
a) The use and value of systematic practice, as a pedagogical supplement to the vocal lesson, cannot be ignored by the teacher of singing. If |
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