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OUTCOMES OF THIS STUDY 265 |
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Problem 90. Can the usefulness of sol-fa training as a technique for improving the singer's diction be tested objectively? An experimental control group might be used whereby two methods of instruction could be compared and evaluated. Similar experimental procedures could be devised for testing such teaching devices as speaking, whispering, chanting and exaggeration, (by whole and part methods) in training the singer's diction.
Problem 91. How can diction be taught through a graded series of songs that would provide progressively difficult diction exercises, set in music that is not too complicated or vocally difficult?
Problem 92. To what extent should the singer indulge his own emotions in the interpretation of a song? Should interpretative effects be genuine or simulated? A comparative study might be formulated that would test conditions of vocal release and the general reactions of the vocal instrument under genuine and simulated emotional effects.
Problem 93. How can the empathic response of a listener to the genuine (or simulated) emotional expression of a singer be studied and tested? (Empathy is defined as the "imaginative projection of one's consciousness into another being.'* (W) By the principle of empathic response, an audience can receive vicarious emotional experiences through listening to the interpretations of a singer.)
Problem 94. Can the learning of a song be improved or accelerated by means of "speaking-the-text,t methods of analysis and study? An experimental procedure, involving the comparison of two different methods of instruction to individual vocalists might be formulated, utilizing experimental and control groups of individuals, under test conditions.
Problem 95. How can the ratios of vowel and consonant sounds in the English language be compared with those of other languages, such as Italian, for the purpose of comparing the euphony or singability of texts in each language?
Problem 96. Would it be possible to prepare and evaluate for study and voice training purposes, a list of songs that are graded according to increasing difficulties of interpretation? Such factors as melodic movement, predominant mood, simplicity and meaning of text, legato and staccato techniques, phrasing, variety and tone color requirements might be considered.
Problem 9*]. To what extent do the ebb and flow of the singer's emotions during the interpretation of a song induce physiological reactions in his breathing and vocal organs? How would such physiological changes condition his singing voice?
IV. Annotated bibliography. Since there was no exhaustive bibli- |
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