Lloyd,
I didn't copy/paste your replies. However, I think many of your statements as well as Randy's or mine, can be better understood if put into the correct perspective.
Because of the sheer number of voices that I hear on a weekly basis, as well as Randy and other teachers, one becomes quite familiar with what is being taught as vocal technique. Although you and I can quibble about preferences and aesthetics, I am at least comfortable with your own knowledge base on vocal function, and know that your opinions/remarks will have some research or knowledge that you can site as some of the basis for your reply.
However, through my own experience, this sort of knowledge and understanding is very narrow indeed within vocal academia at large, and certainly becomes nearly non-existent as it applies to anything outside legit styling.
I suppose in summary, my comments pertain to those teaching methodologies that teach support, vowel modification, placement etc., as the way to to learn how to sing, instead of the result or enhancers of the process. How does one teach a student to support their voice if they don't have a balanced onset to begin with? Why would one ask a singer to modify a vowel, if it was a high laryngeal position causing the vowel to widen to begin with? Wouldn't it make more sense to address the causal factors instead of the symptoms?
More, my great concern is not for those on this list because they are obviously willing to ask questions and continually educate themselves. My concern is for those teachers, myself included, who don't question the validity of what they do, or worse, push their own musical preferences onto their students, irregardless of the desires of the student.
Best, Mary Beth Felker
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