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    29 views7 pages

    MILLER RICHARD On The Art of Singing (Excerpt)

    Uploaded by

    Margherita Vacante

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    On the Art of Singing RICHARD MILLER New York Oxint OXFORD UNIVERSITY PRESS a 1 Imagery and the Teaching of Singing Singing agely a subjective action. Kress fom a eral that sammions up previous experience of physial coedinaton, propeieeptive seme ‘on, and vocsl sound. Fine singer seldom analyze the hinge they doi performance Instead they depend on recall arto how they have done it ‘well before. They recognize only a pervasive atide toward performance In which the imagination i red for arte exprenion by motor scons thar ate consistently repeatable. This constitutes the paychologial and physical contol of performance There i no teason forthe sucessful performer to describe personal processes to others so lng 2 peformance remains hs or her only eld of activity. When, however, the performer turns co giving instraction, com ‘municaive, objective language must be developed. Inthe rate instance ia ‘which two personalities, teacher and student, share almost dential expe ‘ences and morphology, there may be less problem with the language of lmagery. Even then the stadent seldom has the kid of unproblematic ‘ordination that may have served the teacher. Many Give perorners have fever had the Kinds of technical problems encountered by the average voice student. That is why a highly sucess singer who also teaches may have maces with one singer or with a paccular category of voice, but ‘ot with others. A good teacher must beable to objectify the components ‘of performance and covey der othe student, egal of the student's socal category. The teacher who bas had 1 Bd Solutions for his or er ‘own base techn peoblems may prove the mos seful to students. Val able preparation for che sucusfl teaching of singing isto ate solved ‘one's own personal veal problem, ro have reached a good level of techai- fal and miscal proicency, and co have benefited from the inestimable ‘experiences of a succes publ carer. (Listening to those of us who teach describe personal sensations and peformance anaes may spark ‘imaginative thinking, but that ir not enough. Mast singers are in need of reise technical information thar goes heyond the language of imagery.) There is toe for some imagery inthe caching of technique. Teel ingen, homeret, s snoutty of ealue if ttle assoclaved with ebeady extab- ‘ onthe Arf Sine |i, peal xd. fete singe a aed (Beet mcopemen an proper ogra el rsonaoy eponey arab acl hanfng sos fncons. The supesinposton "1 a ert ae fc ay ring moe cofsion an 3 “AS ld by one peat ear ht dsing performance he et be was inn ida on sound a nal whe tw etn ont fs, Tee ene Tamoas enor tat be oe lhe ws singing ro Tapa et ye the mile ofthe forced of Tl vate eo i en Bath he woskdsenned ters ha log se se Sedna avis thy saddled come oe SEE hot pee images Jose a word stl ress common TEL ing cha maging mt be edo the pooper arn endl to cme mewsing. a © LOSE Beate ofan ave to someone who har maven a alte, ‘Setting once eon on ea al he ermine shoul not be prt fh is tp ia each ‘nce these covedain of he sgn stare Sip i. Sate en of vos nbn ext a he wl aint aes igh peel The sings wl very go op aeration age. Atempting to speimose oes on AS ac mother peso penal Tos than suse. When SIRENS Sgr uct ape a to what the imagine gang 3) oer cm cule fans, hr thn 2 le foray ean tia pecs of te testing of pig Una, Se mca magn emia» mica oe the Se {Tris abe peer Soar ic singing voce eapond to concions conta th eae eee cote that probes fle ging depends Se EiGhctseal tinde—she gel carte meson that neta Pe ety te end morconalable acon Giovann Bat a owed by Ea Brown be tio asx “Thou aa eeote unl sine and acon deve and take c- rae yaa wes binary becomes mai” Aste caning of TekG nnd ue espa, eden oe agin wil pro- Sa a aging of what wl cv be oma pss ising 1S erased hac mny oosandingproesional ge eee a eek pyle or tcl imapey For them imagery oo ey Shc onepree la They mann a channel of pp ooe- ry a ie rn in which he technical foundation that has Imai and he Teaching of Sing 5 son. Imaging in singing shoul ically be directed to dhe arin eaiaton ‘Sete, dma, and musical content, not to the contol of physical aspects ‘veal rechnigue Then the singe is ee of dhe kinds of techies imagery ‘hat so dominate many vice stdios and thar coninue to plague many ‘Sere daring peeformance. Exemps from technical imagery, the singer is free to us maging forthe depiction of text and dram “Teacher impose technica imaging often unintentionally prodcescom- plcaons that inelee with good vocals. W., Bartholomew, is apa: Perot causidrable historia mportnce ens “The Role of ager in Voice Teaching” and delivered to the Music Teachers National Assoia- tion in 1935, expressed the viewpoint admirably nen mag Becomes 50 vinta i waned in the physi ld Tir nnd caplan plysiloi and acome enomens, ebesomes TR data ecb and eve fae: is this use which acy SERS forte bier conve ore vel eed a wall 98 fOr tht fen onl expresion Bartholomew would be pessed to now that in the pase several decades ‘oual pedagogy has moved away fom circling bids, drifting cloud, chim Top ontop of heads, purple rons, vocal waterfall ad god reads spin» lng trom pyramids that extend from the chin to the font sinuses. He ‘Mould als appreciate thar dhe preado-sientiie notions about recovering Prmitivevoel sounds fro a pre-xstent vocal Aas ae largely dite {arden conterporary vocal pedagogy. There ian ineeasing raion ‘ar the voie as an instrument can Best be tained hrowgh exact comma- Tene Language For this we an thank the dssenination of factual infor ‘ation from inerdiscpinary sources Tn zummary,atsty can be only as complete as coordinated function pea Free Fncion permits attic imaging, which ott be conused eth pesfrmance lavemen o physical imagery. Especially inthe easly [hac of voice teaching tchacal imaging shoud be used with easion, ‘Paya iamgery should never Be based 8 misinformation 38 ro how he body works. 2 Five Principles for the Successful Teaching of Singing ‘Two decades ago, at 2 meeting of admiistatos of some of Americ’ lealng conservatories and schools of mus, alo hem offering advanced degre programs, i was fl hat the mose fc and precarious postion ‘0 Gillin applied music is that of Voice Professor. Contbuting factors were many, bat they had mostly ro do with the pedagogical mythologies with which many instructors surrounded the singing vce; it was agreed tha many singing teachers did not make we ofthe kinds of oburrable ‘extemal maneuvers wed by teachers of ether istuments. However, in ‘more recent decades voea teaching has moved inthe dueton of 2 more prise peagopial language. Are there some principles that asst the [knowiedgeable teacher in ensuring succes in reaching the art of singing? Five counsels are sugested here. 1. Teacher and Student Rapport Any singer who has been admited to program of study ata reputable instiution of music, oF for study with « private teacher who maintains high profesional standards exis some degre of potevial ai tls ‘minimal singing sls, 0° be or she would not be there. No matter how roblematic the voice, some areas of it wll lay be beter than others isthe job ofthe teacher to idenily which sounds are most favorable and to improve those that aze wor. Frustration aver slow results somes tempts us to eeat rads 2 hough they were incapable of dicen the slifferences between the sounds for which we are vearching a the sounds they ace now producing. We most alo guard spans making the stent fee inadequate to comprehend what we are saying, Many times i snot the student whois a fal, but we ourseives. How best to proved? dentfcation of even one sound that beer than the oer offers the teacher a point of deparae not only fo Bringing about fui instr ‘on but also for demonstrating othe student chat eacher and student ae ve Piles the Sac Tesching of Sigg 2 ‘on the same, pstve side of problem solving. Once a student is asured thatthe teacher i convinced tha here is something of merit in what he ‘or she does, there is encouragement 10 ty harder to bring other sounds imo accord with the more aczeprable sound. When the stent has bee, ranted an indication of respect for pat of what he or she can accomplish, thar sadn swing to accept almost any degree of speci ers. The importane point isto stare with some postive assessment, wo master how Aistubing the studen’s limitations may be. Thereby a comeadeship, = ream, ¢ boo. Esablishment of professional rapport is esenil to any climate of learning, The problem with the "carimatic instructor that Be or she may unwittingly come across to the student 25 che founainead of wit dom, the inhabitant of a distance vocal Parnassus. Todays student i far less impressed with the performance creentals of teachers. The sharing ‘of information, not masterfl dominance—encouragement, not iti tion-produces the rapport between teacher abd stan that makes leary ing posible. 2. Diagnosis and Prescription [Alter she establishment of rast, which involves the sen’ resiation that comecive suggestion does aoe mean that everyting ong the teacher cam begin pursue dhe procs of dag ad preston that forms the basis ofall analytical teaching. It ea hi pone that modern ‘vocal pedagogy eter stands or fll Kis not possle to diagnose what i prablematic ima voeal technique without an anderstanding of what i i Inbitingfunson. Any tne teacher of singing spats & sent eat there i a eter way of doing dings tha the dene carey uss, the equst for change must be used Personal preference of one Sound over shosker is not an adequate reason for requesting change. “This he Sound my ear prefers," or “This isthe way my teacher taughe me,” oe “This the way my stadent who won the Mt docs i” are equally nap propriate reasons Dignous and prescription, the two chief reauitements tn teaching the tecbnique of singing, can be made oaly by weighing both of them aginn whats knowabl abou the physiologic and scout ‘ons of the singng voice, Anything thar concens technique should not {ake place in the realm of nonsupporable wizardry. Both diagnosis and prescription shouk! be underandable and nonttetening, ad both mat be described in clear, faneconal language if they are to be exacly comm seated 8 edt Siig 3. Specificity of Language Language describing breath management, laryngeal function, and reso tor respon should not be inventions ofthe moment. These ate functions ‘common to all who breathe and phonate, and can be described through reise language. Such expressions as "Sing on the Breath,” "Spin the fone," “Suppor: the voice with the Brest,” “Sing from the diaphrag,” fad so forty are imprecise and ofen contrary to aca physiology. The diphcagm is Blow the lee of propoceptive respons, for exam ple, and can better ft no locally conolled. The process of phon bon, Being serodynamic and myoelas, tune ar into tone, and it should not be impli that alow for singing is indcd independently of vocal fold responses it Similar, esoaance sensations i singing are nc the esl ofthe magi ative assumpeions frequently offered, In an atempt to convey one's own ‘easton, the teacr nus take care not to conse the sour of ocd With the onsation of sound, “Placing” either air or soand in physical oe tions where they cannot go acount fr many of dhe esions experienced by singers. Only through a ler exposition regarding the resonator tac’ firing responses to laryngeal sound can the teacher avoid giving false information that may lead to malfanction, Laryngeal fonction itself is fequently misunderstood. Attempts to ‘open the throat” may malaga he position of ee larynx and do lise to improve pharyngeal space. The respons of the arya to complete in Invion, andthe revonator capabilities ofthe arya il, shoald be under stood by the teacher of singing. This information is accesible o all and ‘must be cesty conveyed eo the student. Managing one's own instrument land describing how i fel 1 onesel i not salctent forthe istration of others 4. Efficient Use of Time ‘The amount of tne available osraet and vacher i limited. Part ofthe ‘alu of linguistic precion in teaching lies inthe efiency of commni- ‘ating the specifics of vocal technique within the alowed time le fe ‘qenly rakes many atoms to convey an ides regarding Function when ie {preset in dhe Iongaage of myth or post invention. Such language ‘may never convey the acl information the teacher wishes 0 impart, and ‘much te i wasted, Far beter husbanding of te oom when technical language is brought int the world of phyial rely. The imagination dull asathed e-eilienemielucerinbiien Maceed Feil rte Succes Teaching of Singing ° function has been established, the singer then relics on feng sensing, and fecing the diferencs between feedom and teason. At that point the ‘Sige wil id his or er own ienages tht make thse kinetic expei- ‘curs repeatable, Saccess in tying to teach these cootdnations through the superimposition of personal imaging onthe poyche of another i gener ally limited, and dhe efor may be countrproductive. 5, Measurable Rest ‘Many technical sil seguir ime 1 assimilate. The road vo slid vocal technique is not ashore one. Today’ sade is often ina hury and ex ‘cts fast results. Notitetanding every lesson should ai at the achieve fet of some tangible improvement. Aseaden shold not wander about ina lind ofthe unknowa, leon afte lesson, atempring to interpret dice tions shrouded in evasive language and mysterious aphorisms. Speci task involved in val echnige ean be wasted through speci mane ‘ers Bry lesson a student artende should dude the accomplishment of ome posite and recognizable gal, Gone aze the days when it was the Feaden’s dary to penetrate the arane Inguage and experince of the teacher “The mystery of the perfomance ar remains: How does the artistic imagination make wse of technical kil o communicate beatiful sound [Ind emotion? The senees of aeostics and physiology have long been “plied to vocal pedagogy there are fa fewer fnesonal mysteries today than there were even a few decades agp Spectrum analysis and fiberoptic! ‘roboncopie stad of the singing instrument are catrently possible. How= ‘et, no one can teach another person, through mechanistic means how {he mind assemble technal and mica concepts and brings them nto Drsctcal relation, Nov das one become a att simply by achieving [ood fonction. "The psychological enigma wil lays temas. elt cam fot be too stoogly retersted that arity came be communicated if the Toca inrament remains hanapered by nonfunctional behavior. A singer ‘ao have the most astounding musical seni, aati veal endowment, Sl poece and deamatie understanding, but no-one will know tha if he inmeument doesnot function well. His the teacher's ask co develop a pedagogy that speaks tothe aden’ neds The succesful teacher of singing will go Beyond aremptng to pss on to his or her students empirical performance sensations and experience ‘She or he wil fad modes of istracion that develop rappre, that peri, the diagnos of problems, and that supply prescriptions for coretions though specific and communicable language thereby saving time and peo 0 he Af Sing cing measurable results. These five principles should frm the structe of every lesion, 3 Covering in the Singing Voice “Cores em oon 9 ppg Vein Des “pesief sonia niin in sa ces no fy TOE Sie on te fs cgay ated een wht Sa achat aie tara capa Coates tl ren owas ig ay ein ‘hc slp deal ow wh et a Joes has ty tn sake of meg ls ne yc src ens ts nsw un ora fe ‘Spa ag ay” Me gaye ened ‘phenomenon. = Tord rcs eye secre sie oft cpr oe an lima he eee Sr apes Se seca gl wc aa poly seen perry betel yo tn i opamp tcc age me a “Goa hn cna non pee” ok ce spots ppl ony, on wy ed Sov erat GaADemaligsipn ways any ae Scam ote la ere i tora ely pg fe Be ee ad valle soe egw of he ging re ‘eiefschp Srp fin hes heures ned vl Sony tad ang hemo pra trap oe ee tn nd toe pac et Tea ‘het cand oil eb nie es ie oud el heen spe eee db ea ps (Gomnra apse chs of us et soca ee eae eee Corin te Sogn Vole 0 lowes tothe highest notes ofthe scale. Sach concept of eal basi i= tre must be understood Before the echniqae of copertur canbe compre ended, (The presence or abvence ofthe storie val chiaroscuro timbee is verifable ough speczographic analysis.) Te should be interjected thatthe long-

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