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OUTCOMES OF THIS STUDY 259 |
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quate teaching techniques in this area have not yet been developed. This area should be explored. A further investigation of the action and adjustment of all the vocal resonance cavities would also be helpful to the teaching profession.
Problem 52. How may humming be employed in vocal instruction? Statements regarding the use and value of humming are conflicting, and students of singing are caught between two antithetical admonitions? do hum! and don't hum! The preponderance of author opinion favors humming as a teaching device. The sound of m is proposed as a basic tonal pattern since it is characteristic of the natural or residual resonance tones of the head before articulator^ movements take place. This problem needs further experimental investigation.
Problem 55. How can the physiology of "open throat" be explained? The open throat concept is still open to question. Open throat is apparently a misnomer for what else could a singer's throat be but open? This term is widely used to describe a teaching nostrum for all singing maladies. The technique of the open throat is intended to promote a type of relaxation or vocal release in the throat that would obviate the disastrous bottle neck constrictions that throttle the tone in poorly produced voices. The open throat theory needs scientific confirmation or refutation.
Problem 5^. How may synchronous vibratory activity in various parts of the singer's body be determined and measured? Authors who declare that the entire body is a resonator base their opinions on the following concept: "The entire skeletal body consisting of some 206 bones serves as a sound vibrator and conductor either per se or by continuity. In other words, if there is a vibration in any portion of the bony structure of the body, there is bound to be vibration in all bones of the body but, of course, to a lesser degree. [Owsley 441, p. 11] Curry's explanation is even more explicit. With each cycle of laryngeal vibration there is an almost instantaneous propagation of initial sound waves throughout the whole volume of the vocal system. Singers falsely believe that they can selectively direct or focus vocal sound to certain areas like the skull, hard palate, chest, etc., only because they more readily perceive the sensations that are caused by the sympathetic vibration of those parts. [124, p. 49] Experimental procedures should be devised whereby these vibratory phenomena can be objectively measured.
Problem 55. Is the voluntary control of vocal focus possible? Forty-one out of sixty authors who discuss vocal focus favor voluntary control of this factor in singing. Although opinions vary as to the exact place of focus, all forty-one seem to agree that the use of some form of upward |
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