Training the Singing Voice - online book

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

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	174	TRAINING THE SINGING VOICE
	SUMMARY AND INTERPRETATION THEORETICAL CONSIDERATIONS Discussions of vocal dynamics are less extensive than those of other components of singing, such as breathing, phonation or resonance. One hundred and ten statements were gathered on this subject. Only six of these refer to objective studies and two give authentic historical refer­ences. Eighteen statements by professional singers are included. There is little information regarding the physiological controls of dy­namics in singing. These controls involve the gradation of tonal volume. The popular theory is that the degree of loudness of a vocal tone is re­lated to the amount of energy applied to its point of emission at the glot­tis, the energizing agent of glottal vibration being the expiring breath. stream. When the breath stream is applied to the occluded vocal lips (cords) it forces them to pulsate intermittently, much as the lips of a bugler might vibrate when he compresses them and blows against the mouthpiece of his instrument. In either case, the force of the energizing-agent (breath pressure) will determine the amplitude of the glottal pulsa­tions and the consequent amplitude of the issuing sound wave, -which we interpret as intensity or loudness. METHODOLOGICAL CONSIDERATIONS The discussions of technique center around two important controver­sial questions: a) Is vocal volume controlled by means of breath pressure, resonance factors or both? and b) Should loud or soft singing be used when practicing? There is also a discussion of the swelling and diminish­ing device which the Italian masters called messa di voce, and an experi­mental report indicating that the ability to sing loudly is not a product of vocal training but an inherent -characteristic of the normal vocal equip­ment of every individual, whether singer or non-singer. One author offers 'the interesting opinion that vocal dynamics are governed by hearing con­cepts rather than volitional controls of the vocal or breathing apparatus. The argument favoring soft singing practice is reinforced somewhat by Borcher's Endings in an experimental analysis of the acoustic spectra of three tones of the same pitch and vowel as sung by artist subjects at three different intensity levels: pp, mf, #. Results of this study indicate that, in soft singing; the natural fundamental frequency in a vocal tone is rela­tively stronger than in loud singing of the same tone. Although these find­ings are inconclusive, they tend to support the idea that soft singing, or