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CONCEPTS OF PHONATION |
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2. "If his conception of the tone is perfect, its production will be perfect." [Maurice-Jacquet 380; also Cimini 98, p. 11]
3. "In the perfect attack, the artist is really singing in the consciousness [mind] before the voice starts . . . hence the need of steady concentration/' [Wharton 655, p. 61]
4. "The [tonal] idea is always antecedent to the [vocal] movement and absolutely essential." [La Forest 326, p. 173]
5. A "mental picture" should be formed before any physical [vocal] action is attempted. [Brouillet 64, p. 65]
6. "Good vocal tone depends upon a conception of beautiful sound.'* [Quoted from American Academy of Teachers of Singing—Outline of Theory. Christy 97, p. 45]
7. Phonation has three stages: 1) thinking, 2) attacking, $) sustaining; all are governed by "mental purpose." [Owsley 441, p. 66]
8. The spontaneity of any tone is governed only by its anticipation. [Brown 78, p. 78]
9. From the first, the pupil must learn to think tone before it is produced. [Mowe 405, p. 2; Althouse 9]
10. "Listen to what you are going to do; not only to what you have done." [Howe 284, p. 63]
11. The singer's vocal tone is always an imitation of a mental model previously conceived. [Kling 319, p. 3; also Stnallman and Wilcox 566, p. 8]
12. The ability to idealize tone is a prerequisite to beautiful singing. [Kirkpatrick 317]
13. Train the singer to think his tone before he produces it. [Staton 581, P. 3]
Anticipation controls pitch. Nineteen statements express the opinion that "the mere thought of any pitch," with no conscious direction of the will, automatically produces in the vocal cords the exact necessary tension to make them vibrate at that frequency. [E.g., Clippinger 112] This concept is related to concepts of ear training by the use of tonal imagery. (See Chapter VII.) Stanley explains this teaching method as follows: "Before commencing to sing, the pupil must be directed ... to hold clearly in his mind an absolutely clean-cut mental concept of the pitch ... he is about to sing." [578; also Wood 686, p. 21] Luckstone thinks of vocal pitch adjustment as a reflex action to a mental concept. [358] The muscles of phonation respond automatically to a mental concept of pitch. JJudd 309, p. 13; Strauss 591, p. 2] In other words, pitch control is not a sepa- |
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