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TRAINING THE SINGING VOICE |
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2. Instead of thinking about the throat, think of the effect produced. [Samuels 487, p. 57]
3. Good vocal tone rests on an ideal aesthetic conception. "Learn to hear and value your own tone." [Altglass and Kempf 8]
4. Close your eyes and concentrate on the pitch of the tones you are singing, especially in difficult passages. [Bas 41]
5. First of all, you must learn to hear yourself as others hear you. [Eirkpatrlck 317]
6. "It is only by alertness in listening to the tone that the right mechanism can be attained." [Shakespeare 516]
7. "The ear is the arbiter ... of the tone." Vocal results are guided by careful listening. [La Forest 326, p. 156; also Hemery 238, p. 13]
8. "Think, sing, listen"—is always a good motto for the vocal student. [Austin-Ball 31, p. 35]
9. The vocal student must be taught "to be his own critic and advisor, so that he can hear himself when lesson time' is over." [Friedrich Schorr 497]
SENSATION AND SOUNI> AS GUIDES TO VOCAL ACTION
Sensation is defined as the mental awareness of some immediate physical stimulation of the bodily organism. (W) Fifteen authors express the
belief that the tactile and kinesthetic sense Impressions caused by changes in the Internal state of the body during singing are the singer's only reliable guides to vocal action. Opposed to this group are the 20 opinions that emphasize the primacy of auditory Impressions as guiding evidence of vocal action to the singer. A third group of 6 assume that both sensation and sound are interdependent criteria of vocal action. In all, 41 opinions are expressed, embracing the following three aspects of this controversial subject:
a) Sensation is a reliable guide* Graveure's opinion is typical: The proper way to learn to sing is "by the muscular feel of the thing." The voice should be trained "entirely through the channel of muscular sensation, and not by the ear." [208] Vivian della Chlesa explains that the singer should always make a concentrated effort to capture the sensation of good tone so that he can summon up these sensations at will, "until they become second nature." [135] Nicholson believes that the student of singing should first "find out what It feels like to produce the sounds." His teacher is the only one who can judge whether they are pleasant tones or not. [425, p. 91] Wodell defines "placing the tone" as locating the sen- |
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