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s5S TRAINING THE SINGING VOICE
should be followed by more vigorous singing at different dynamic levek Me$sa-di~voce effects (Chapter VII) would also be helpful.
Problem 46. How could the comparative usefulness, in vocal research, of the following devices be measured; laryngoscope; laryngo-periskop; stethoscope; kymograph; phonodeik; magnetic-tape sound mirror and other recording devices; artificial larynx; high speed motion pictures and X-ray photography? Also various microphone, loud speaker and ear phone techniques for observing and analysing the operation, control and acoustical output of the phonating mechanisms during singing?
Problem 47. How may graded vocal or silent physical exercises be utilized for promoting the various phonatory conditions, skills and abilities that are essential to artistic singing? The development of suitable methods and devices for the further investigation of laryngeal action and the laryngeal muscles would be helpful.
Problem 48. How can such conditions as jaw freedom, lingual flexibility, palatal strength, open throat and other optimal conditions of the vocal tract be taught by indirect or psychological methods? A system of indirect exercises should be formulated, tested and evaluated.
Problem 49.. Is it possible to arrive at accurate determinations of ideal pitch frequency variations in a vocal vibrato? Also ideal amplitude and intensity components? Further investigation of the vocal vibrato in singing is needed.
Problem 50* What is the function of the vocal sinuses in singing? Despite the convictions of many teachers favoring the usefulness of sinuses as resonators, there is strong if not positive evidence to the contrary. In surgical operations, the sinuses may even be completely eliminated by incorporating them into the nasopharynx without any noticeable effect 011 the laryngeal sound. [Curry 124, p. 117] Research in this area would provide valuable information for teachers of singing.
Problem jj. What is the true nature of nasal resonance? Apparently the pupil singer is in a better position to perceive the existence of nasal resonance than the teacher since sensations, in this instance, are more practical as guides than sounds. But there is a surprising lack of knowledge concerning the simplest anatomical structures of the head. Many authors advocate conscious control of nasal resonance without knowing how it is brought about, the assumption probably being that the average singer can consciously regulate the rising and falling of the velar muscle which controls the passageway into the nose, an assumption that has never been experimentally demonstrated. Although it is generally agreed that nasal resonance is an important factor in determining the quality of the singing voice, we must conclude from the evidence at hand that ade- |
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