| Share page | Visit Us On FB |
|
OUTCOMES OF THIS STUDY |
961 |
||
|
|
|||
|
disturbing the spontaneity of its action. The vocal profession may well be grateful that certain illustrious examples of the natural singing voice exist. These perfect voices show forth the possibilities of correct development to singers who are less fortunately endowed but who are striving to achieve a so-called "natural result through systematic vocal training. In this connection Van der Veer writes: "Beware of the word 'natural* for that word often means 'habitual/ Habitual processes are often far from being natural." [714] It would be interesting and valuable to consider the characteristics of the so-called natural singing voice from the standpoint of experimental research.
Problem 59. What is the average compass of untrained and trained singing voices in each main classification of range* as obtained by objective standards of measurement? Several hundred vocal samplings in each category could be measured and an accurate table of findings prepared. The location of the central pitch, middle range and the various registers in each classification of voices might also be indicated.
Problem 60, What are the criteria of artistic performance regarding the flexibility and range of the singer's voice? By what objective standards can these criteria be determined in trained singers whose singing range is not very extensive but who nevertheless give musically satisfactory performances?
Problem 61. What is the exact physiological action of pitch controls in singing? Is pitch variation a function of intrinsic glottal muscles? Of extrinsic laryngeal muscles? Of the intensity of breath pressure during phonatlon? Of the size of resonance cavities? Of the size and anatomical conformations of muscular and cartilaginous laryngeal structures? Of combinations of all these factors? What coordinations are involved in making vocal pitch changes?
Problem 62. How may pitch controlling coordinations be educated by direct physical exercise? By means of musical vocalises? By means of ear training programs?
Problem 63* How may our knowledge of pitch regulating mechanisms in the singer's voice determine the correct Instructional techniques for correcting register breaks? Can experimental procedures be devised that would measure the conditions under which register breaks usually occur in the singer's voice? Laryngoscopic, high speed motion picture and stroboscopic photography of glottal activity during sliding and disjimct pitch changes would be helpful.
Problem 64. What research procedures can be devised that would reveal accurate information regarding the nature of the Msetto range in |
|||