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TRAINING THE SINGING VOICE |
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GEHBRAJL CX)NSH>ESATIONS
The ganger's diction is an important factor in the vocal training program. It embodies a technique of tone production in verbal patterns which is prerequisite to the actual singing of songs in any language. [Nicholson 425, p. 95] As early as 1723 Tosi, the noted bel cantist, wrote: "Singers should not ignore the fact that it is the words which elevate them above the immimentalists.** [Henderson 243, p. 104] Tosi permitted the vocal student to use words only after all vowels had been perfected. The study of repertory then began. [Klingstedt 320, p. 21] Pacchiarotti (ca. 1796), who also taught that diction and voice production were interrelated, wrote; "He who knows . . . how to pronounce, knows well how to sing." [Henley 264] According to Proschowski, verbal expression is a produa of human intelligence and an indispensable factor in singing technique. The vary fact that the human vocal organs can shape the various vowel forms into intelligible patterns distinguishes the singing voice from some mechanical sound product. [453]
It is Howe's opinion that good singing is the natural corollary of good diction. [284, p. 16; also Wharton 655, p. 32] Jones adds that abstract tone production is practically impossible since every vocal tone automatically pronounces something through its acquired vowel resonance. [307, p. 12] Henschel believes that the singer's diction is even more important than Ms vocalization when considered from the standpoint of interpretation and listener comprehension. [266] Proper diction is the very basis for corral voice production in singing. [Marafioti 368, p. 164] Abbott also suggests that diction and tone production are closely related factors in training the singing voice. *Trom the very first lessons," he says, "I never separate tone and diction." Furthermore, the pupil must understand that distinct enunciation h a help, not a hindrance, to beautiful tone. [1] Bar-bareux-Parxy and Brown also hold to this view. [34, p. 226; 78, p. 58] According m Austin, "no voice k really a good musical instrument until it has attained some skiH in diction." [28] "Perfect diction means perfect singing; one is but a complement to the other/* says Obolensky. [432] Henderson suggests that good 'diction is an exercise in itself for training the singing voice, [240, p. 3] It is also an invaluable medium for helping tonal resonance* fWettergren §54]
VOCAL FACTORS IN THE SINGER'S BIOION
Wmffel is the vehicle of mice, Aikin divides the sounds of the language into two groups: a) **mwek, due to open and expanded positions of the resonator* suitable for continuous sounds of best possible quality"; and |
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