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TRAINING THE SINGING VOICE |
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through listening and imitation. (Chapter VIII) The student also practices anticipating (imaging) each tone that is to be phonated. Thtxs,
vocal relexes are cultivated indirectly through the building of mental concepts of pitch, volume and quality.
3. Motivation. Finally, motivation controls phonation because it stimulates the proper desire to express, accompanied by an incentive or fruitful purpose. (Chapters II and X) Those who favor indirect teaching" methods believe that strong purpose, aesthetic feeling, interest and joyous enthusiasm spell freedom of vocal action in singing.
In conclusion, the teacher of singing is reminded that voice is a living phenomenon and not the mechanical product of inert laryngeal structures. Cadaveric dissections are largely unrevealing to the vocalist, and experimental procedures for observing and measuring the exact characteristics of glottal vibration in a living voice present many practical difficulties that have not been overcome as yet. In training the singing voices old habits must often be broken down before new ones can be acquired. Remedial techniques therefore play an important role in voice-building-But, in the process of applying remedial procedures through actual singing, the songs that are studied should always be regarded as vehicles o£ self-expression at whatever level of proficiency the student has attained, rather than as analytical technical studies in the overcoming of basic vocal difficulties. Attention-arresting admonitions such as "stand ixp straight,'* **puil your chin in," "breathe deeply" or "keep the tongue low** inevitably disturb spontaneous vocal coordinations and result in stilted, self-conscious performance. |
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