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TRAINING THE SINGING VOICE |
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all types of voices? Can such physiological data be applied to voice training procedures so that the falsetto register may be adapted to regular singing performance?
Problem 6$. Can diagnostic and remedial procedures be devised that will correct the detrimental influence that habitual daily vocal behavior, as in speaking, has upon the use of the voice for singing?
Problem 66. Can a list of musically wholesome songs be prepared for ail types of voices and graded according to their usefulness as teaching materials for cultivating the range of the singing voice?
Problem 6j. What are the exact physiological constituents of the act of vocal intensification in singing? Which of these are related to breath pressure? To resonance? Research in this area is needed.
Problem 68. Can the physiological factors of vocal dynamics be related to specific pedagogical procedures for training or refining the control of dynamics in the singer's voice by means of technical exercises? A list of such exercises with evaluations would be helpful.
Problem 6g. Is it possible to determine experimentally whether, in any program of vocal training, the emergence of the improved singing voice is accompanied by measurable improvements in dynamic vocal controls? It will also be necessary to determine whether dynamic controls are residual concomitants of the vocal act, and therefore not directly influenced by the acquisition of singing skills.
Problem yo. Can a relationship be traced between tonal imager}1 and dynamic vocal utterance in singing? Experimental procedures are needed whereby vocal utterance can be measured as an auditory-physical response to preconceived mental images of tonal volume. From such observations, a proper teaching approach to this subject might be derived.
Problem yz. Can a song repertoire be prepared that would be conducive to the systematic improvement of dynamic controls of the singing voice? Such factors as the exercise of forte and pianissimo attacks, swelling and diminishing of single tones and entire phrases, and the sustaining of pianissimo and forte tones and passages might be considered. Such a list should be properly graded and should include actual song literature that is inexpensive, not too difficult to sing, and musically palatable.
Problem 72. To what extent does tonal imagery influence the activity of the vocal organs? What experimental procedures can be devised to test the effects of conscious self-listening on the singing voice?
Problem 75. How can tonal memory drills, tonal visualization drills and "silent (mental) singing" drills be utilized in an ear training program? An objective evaluation of such drills would be necessary. |
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