Training the Singing Voice - online book

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

Share page

Visit Us On FB

	146	TRAINING THE SINGING VOICE
	independently of pitch or loudness. Of course, such impressions of quality will have to remain purely subjective or aesthetic until accurate measure­ments and terminologies are developed whereby they may be objectified and standardized for research. Empirical theory predominates in the vocal texts examined, yielding methodologies that are obscured by opinion and controversy. Many of the basic concepts gathered have the support of successful singing artists. But they need clarification through experimental investigation. The function of the sinuses, the importance of nasal resonance, the open throat theory, the entire body functioning as a resonator, the use and value of a vocal focus, humming as a teaching device and the voluntary control of all vo­cal training factors are controversial subjects that are open to further in­vestigation. In conclusion, the emphasis which is laid on resonance as an important factor in voice production leads one to inquire why there is not more ob­jective data on hand regarding this phenomenon. The term resonance it­self is under suspicion since it often is used to cover up any deficiencies in scientific accuracy when describing the operation of the vocal organs. [Drew 147, p. 125] From foregoing discussions we may conclude that some fragmentary information is available concerning the theory of vocal reso­nance. But there are few conclusive experiments in this area and most of the pedagogical information is based on empirical observations or pure conjecture. It is as yet impossible to fill in the gaps in this subject but a further objective analysis of the methods used by voice teachers for im­proving and cultivating the singer's resonance might confirm or refute some of the contentions of the vocal theorists. Bartholomew, who by means of sound recordings, has made a thorough study of the determi­nants of quality in the singer's voice, is more or less optimistic about the possibility of working backward from the carefully produced sound wave records of good voices and bad voices to the differences in the physiologi­cal structures that produced the various qualities. "Fortunately," he says, "there is enough agreement among musicians as to what constitutes good vocal quality to enable us to speak of a typical good quality." [38] If such deductions can be made by expmmental means there should be hope of clarifying and standardizing this area of vocal teaching.