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s&> TRAINING THE SINGING VOICE |
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and forward imagery is good pedagogical procedure since the attention
of the singer is thus directed away from the laryngeal and throat muscles where most vocal constrictions originate. This diversion of attention has the indirect effect of inducing a normal relaxation of the vocal tract during phonation and a normal functioning of the vocal reflexes results. [Bartholomew 40] Nineteen authors are opposed to voluntary control of vocal focus. Some even deny the existence of a focal point of resonance, claiming that resonance is rather evenly spread over a large area of the vocal tract. They contend that forward focus is a sensory illusion; that any portion of the vocal tract can be sensitized by continually concentrating upon that portion. In other words, the so-called vocal focus Is really an attention focus which immediately heightens the singer's sensitivity to vibrational activity in that area of the vocal tract where attention is being concentrated. This controversy needs a solution.
Problem 56. How can the effects of a singer's so-called "focussing techniques" be tested? Teachers claim that the conscious directing of vocal tone to the point of focus produces two perceptible effects. First, the point of focus becomes filled with vibrational activity which the singer himself can perceive by touch sensations. Second, the tonal effect emitted when the voice is being consciously focussed becomes decidedly more agreeable to the ear than before the conscious focus was attempted. Experimental evidence is needed of the actual increase in the vibratory output of vocal tone which the so-called point of focus contributes. Such evidence would justify the emphasis now laid upon this controversial concept or it would definitely dispel any illusions regarding the efficacy of teaching methods that employ voluntary focussing techniques.
Problem 57. Is voice production in singing subject to voluntary controls? Unlike the pipe of an organ, whose tone is fixed in pitch and quality, the human voice may be varied through a wide variety of resonances which respond to the expressional Intent of the singer. Scientific data would help to settle the controversy that arises as to whether the singer's vocal responses to his thoughts and moods should be voluntarily controlled or whether his vocal organs react spontaneously to the mood and meaning of his song while he remains totally oblivious of technique.
Problem 55. What are the acoustical and physiological characteristics of a natural voice. The natural voice is one that seems to meet every aesthetic and artistic requirement without ever having received formal training from a singing teacher. Hence this phenomenon among singers is an object of great curiosity and vocal teachers and scientists are continually striving to ferret out the mystery of the natural voice without |
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