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CONCEPTS OF RANGE i§3
artistic, expressiveness. Under these standards, the average untrained singable compass might be two octaves or less, a compass that can easily be cultivated to meet the requirements of average song literature. [Woods 689]
Theories of registers. The question of vocal registration is one of the most insistent controversial topics in the discussion of vocal range. It promises no immediate solution, although interesting possibilities for further research are revealed. Because the term register has not been clearly defined, there is little certainty as to just what is intended when this term is alluded to as a point in vocal theory or technique. That a so-called register break usually occurs in the average untrained singing voice is commonly conceded. But out of this empirical observation, diversified and sometimes far-fetched conclusions are drawn that need further verification. Three schools of thought are represented by these conclusions, upholding respectively, the following three theories:
1. Natural action theory. There are no registers. The term is a misnomer. Breaks are caused by psychological fears of high tones and chronic tensions induced by habitual straining during ascent of vocal pitch, incorrect methods of phonation, faulty breathing, self-consciousness about registers, and attempts at local laryngeal effort which disturb normal spontaneous laryngeal coordinations. Muscular mechanisms of phonation are not readily subject to conscious control in singing. Therefore, conscious interference in spontaneous laryngeal action causes spasmodic phonation and resultant ''register" breaks. When a voice is free from the above disturbances, breaks cannot occur; hence registers cannot exist. Witness the so-called natural voice that has escaped the damaging influence of incorrect teaching methods and therefore shows no register breaks.
2. Speech action theory. The singing range is influenced by the speaking range to the extent that the habitual daily activity of the speaking voice creates predominant vocal tensions that affect the singing range. That segment of the vocal gamut that is continually exercised in speaking acquires strength and firmness beyond the development of relatively unused portions of the singing range in the upper and lower extremes of the voice. Transitional breaks or wobbly tones occur whenever the singing voice passes from a stronger to a weaker segment of the range. These transitional breaks define the so-called registers.
3. Mechanistic action theory. Pitch elevation in the singing voice is controlled by the antagonistic action of thyro-arytenoid or cord stretching muscles (vocal cords) and other extrinsic muscles such as downward pulling crico-thyroid, sterno-thyroid and lateral crico-arytenoid muscles. When one group of muscles is weaker than its antagonistic opposites the |
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