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CONCEPTS OF PRONATION |
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adults can be taught to sing with vibrato." This, he explains, can be accomplished through the influence of rhythmic metronome beats and through paying special attention to the action of the mechanism that controls expiration during phonation. [626]
In this connection, Wilcox issues the warning to teachers of singing that the uneven wobbling tremolo defect (which Philip calls "an unpardonable vocal fault" [446, p. 147]) should not be confused with the natural, evenly spaced vibrato that is a characteristic of all correctly produced tones. [669, p. 39] Scott likewise urges that a distinction always be made in vocal teaching between "involuntary tremolo and voluntary vibrato." The former is definitely bad, but the latter is "indispensable to expressive performance." [501, p. 72] Westerman would discard the term "tremolo" entirely from the voice teacher's vocabulary because it is misleading. [652] Stanley claims that training of the vocal vibrato "is a most important phase of the [singing] teacher's art." He believes that ultimately definite criteria will be established whereby a singing pupil's voice can be evaluated almost entirely in terms of its vibrato effect. [578]
In conclusion, it should be noted that Metfessel and Seashore both remind the aspirant singer that the case for vibrato singing has been definitely established both acoustically and aesthetically. It has now been proven conclusively that "anyone who would succeed in concert or opera must have a vibrato on practically every note that is sung." [505; 392]
Methods of Controlling Phonation psychological approach
Total coordinations required. Coordination is the process of integrating different, but related, activities of the body into a functional unity. (W) Because certain coordinations in singing may be either developed or disturbed by conscious training and practice, they are subject to educational influences. Voice is not produced by the throat alone, but by "cooperation of all parts of the body." [Wharton 655, p. 69] The 23 authors expressing this point of view offer various reasons for their belief. Davies declares that singing involves "physical, mental and spiritual" elements and therefore involves the whole personality. [127, p. 138] According to Mursell and Glenn, "every part of the vocal mechanism acts and reacts most intimately upon every other part," and coordination is at the very essence of the act of singing. [413, p. 284]
Nerve impulses that control the act of phonation can now be traced along their entire course to their very origin in the brain. [Seashore 505] It has been found that the control of phonation involves nerve centers in the cerebral cortex, "the highest and most general coordinating agency |
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