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94 TRAINING THE SINGING VOICE
voice leads us to the conclusion that author opinion on this subject is diversified and fragmentary. No one text attempts an exhaustive treatment of the subject. Therefore, it will be necessary for the teacher of singing to piece together a continuity of ideas in theory and method out of the many incomplete opinions offered. There is surprisingly little experimental data on this subject. Most of the 4.2B statements on breathing-culled out of 702 texts and articles consulted evade the responsibility o£ proof. Conclusive or authentic evidence on any aspect of breath culture for singing is therefore lacking.
Yet, the subject of breath control cannot be slighted since it is fundamental to the singing act in all its phases. The fact that there is little agreement in this subject need not prevent a reasoned consideration of in major problems even though the great diversity of opinion permits only the most general discussion of some aspects of these problems. The study of concepts presented herein may help to clarify this area of teaching, if only to point the way to a more systematic organization of ideas and a more objective pattern of thinking on the subject.
Breathing is but a small part of the act of singing. But it is an important part, for the breathing habits of a singer are rooted in the vital processes of living. In the consideration of these habits it is necessary to draw a distinction between breathing-for-living and breathing-for-singing. The former, because it is a fundamental process, takes precedence in function over superimposed voluntary breathing controls that the student acquires as part of Ms training for a singing career. In other words, a singer must learn to coordinate breathing-in-singing habits with breathing-in-living" habits if he would achieve the efficiency and endurance that spell artistic success in vocal expression.
METHODOLOGICAL CONSIDERATIONS
It is widely accepted that artistic singing is a voluntary act. Yet, for best results it must simulate the ease, fluency and effortless expression of an involuntary utterance. The elimination of conscious effort and undue tension in any portion of the vocal mechanism is therefore of paramount importance. Authors of singing texts generally concede the automatic nature of the respiratory act in life. But in their zealous application of voice training techniques they frequently demand voluntary breathing controls that disturb the spontaneity of natural respiratory reflexes with serious disadvantages to the vocalist.
There is some confusion at this point as to pedagogical procedure. Are breathing techniques necessary at all in singing? Should they be taught by indirect or direct methods? Before or during the singing lesson? Do they |
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