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S56 TRAINING THE SINGING VOICE
Problem 28. What can the singing profession learn about natural breathing coordinations from other-than-normal breathing reflexes that
involve the organs of respiration, e.g., coughing, yawning, sneezing, laughing, gasping-for-air and other spasmodic and unpremeditated utterances such as cries of pain, joy, surprise, etc.? Are the muscular reactions in these reflexes analogous to the coordinations required for singing? Experimental techniques for investigating these actions are not available at present and their formulation would constitute a valuable contribution.
Problem 2.g. What is the collective opinion of professional singers concerning the orificial control of breathing? Do they recommend mouth breaiMng, nose breathing or both? How can the breathing habits of singers be tested experimentally?
Problem 30. How is economy of breathing related to the physiology of phonation, to vocal intensity and volume, to abdominal and diaphragmatic controls and to spontaneous vocal utterances? What breathing exercises or physical routines can be devised to establish coordinations for economising breath emission in singing?
Problem jjj. Can a system of corrective physical exercises be prepared, that would overcome faulty breathing action, weak posture, and shallow breathing habits in singing? These would be valuable to the teaching profession.
Problem 32. Is It possible to develop breathing by means of actual singing practice? A repertoire or list of songs is needed which will have a corrective influence on beginners who need training in breath support, phrasing, endurance, posture, attack and other breathing techniques. Swdk a list should be inexpensive and musically palatable.
Pmblem 33. What is the exact physiology of glottal vibration and phonatoiy action for each pitch, register and vowel quality of the singing vwee? For soft tones and loud tones? For initial attack and sustained singing? How are intrinsic and extrinsic muscles related to all these factors of phonation?
Problem 3^. How can the true vibratory area of phonation be determined? Modem exploratory procedures should be devised for testing awl measuring the vibratory activity, during phonatidn, of such areas as the glottis, the cartilages of the larynx, extrinsic laryngeal muscles, the spine, chest, various parts of the nose and head, the muscles and walls of the throat, in artistic singing performance and under ordinary conditions of spontaneous vocal utterance.
Problem ^K How does the mechanism of swallowing, coughing and norma! respiration coordinate with the action of the various parts of the |
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