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tfi* TRAINING THE SINGING VOICE |
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sanction to supplement the work o£ the studio and classroom? How can such techniques be evaluated?
Problem 82. Can a list of phonographic recordings by artist singers be compiled that would progressively illustrate to the student all the essentials of correct voice production and interpretation? Such recordings should preferably be solo performances of simple songs and arias with instrumental accompaniments subdued or entirely absent. This set of records would provide valuable supplementary teaching materials for either studio instruction or home practice.
Problem $5. Is it possible to prepare a series of vocalises, technical exercises and simple songs that would illustrate the technical "high-lights'* of exemplary recorded vocal performances so that, in practicing, the student can continually check his own singing performance against recordings that are worthy of emulation? A self-rating chart for home practicing might be devised.
Problem 84, How can objective tests of hearing acuity be applied to the measurement or prediction of aptitude for singing?
Problem 8$. How can the reflex movements and adjustments of the various organs of articulation be tested and analyzed in actual successful singing performances? Are the tongue movements of diction controlled by means of localized kinesthetic sensations in the lingual muscles themselves cc by means of auditory conditioning to the sound effects of such movements, or both? Can such lingual sensations be localized for testing purposes?
Problem 86. Would it be possible to prove experimentally the assertion that lingual activity is not a primary factor of vowel formation in singing? feme means of demobilizing the tongue by anesthetic or mechanical agents might be devised in order that the lingual effect (or its absence) upon vowel production (and phonation) could be studied objectively in many subjects. The same type of experiment could be applied to the study of the action of the lips and various other parts of the oral cavity during the production of vowel and other vocal sounds.
Problem $7. Can experimental procedures be used to determine the ideal vowel frequencies and format for the perfectly used voice?
Problem 88. Are there optimum pitch levels for singing individual vowel sounds? Can the influence of pitch level upon the purity and accuracy of vowel production in the singing voice be tested experimentally? How can vowel format be related to the pitch of the singing voice?
Problem 89. What is the physiology of the mechanism used in cowering vocal tones? How can the efficacy of covering techniques be tested by acoustical or other means? |
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