Training the Singing Voice - online book

An exploration of the theories, methods & techniques of Voice training.

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	m	TRAINING THE SINGING VOICE
	tion is made between the trained and the untrained singing voice. Allu­sions to the effectiveness of vocal training methods, in most instances, dis­regard the elements of age level, physical health, mental quipment, vocal experience and previous training, einotional stability, hearing acuity o;r qualities of musicianship in the individual. These are all factors that play a part in the musical education of the average student, whether it be fax-singing or instrumental performance. In other words, discussions of vocal pedagogy should take into account the adaptability of the individual to the instructional procedures proposed at his own level of experience. Such special considerations as the diagnosis of his faults and the appraisal of Ms natural endowments for singing might, for instance, precede the ap­plication of practice routines, especially if the student is a beginner. In the absence of specific references to aptitude, experience and intelligence factors of learning, it is often necessary to assume that authors are refer­ring to beginners or amateur singers and not to advanced pupils or pro­fessionals. In conclusion, the teacher is reminded that motivation factors are of the utmost importance in training the singing voice. Student interest and the love of self expression are impelling forces in the growth of the sing­ing voice. Singing as an art requires a high degree of cultivation, through, correct use, of faculties that are largely native to the individual. There­fore, in applying a varied and selective methodology, the teacher must employ those pedagogical approaches and devices that minimize the deadly monotony of routine drills. "The lazy teacher keeps the pupil vocalizing exercises ova* and over again with little or no singing," says Stanley. [577, p. 120] Those who appreciate the importance of motivation in the vocal training process will agree with Robison's statement that: 'TTiere are many ways to help the pupil arrive at the goal of good sing­ing. Perhaps the best road is simply the one that he best understands. Anything that helps toward free, simple, vital, sincere, natural expression of a clear musical conception . . . is good practice." [Harvard Dictionary of Musk 704] To accomplish this end, the teacher will recognize the self-motivating attributes of well chosen songs whose expressional qualities stimulate the creative as well as the technical abilities of the student.