Lloyd Hanson wrote (1/26/03 The Language of Singing):
>We seem to be so in love with the most inexact phrases to define our >singing and so unwilling to learn more exact description of actual >function. We choose "singing on the breath" or "breath support" over >example descriptions of how to breath. We choose "head voice" and >"chest voice" over fibre optic views of vocal fold oscillation and >the opportunity to discover vocal fold function. We prefer a trial >and error approach to achieving maximum vocal tract resonance and >embrace that most amorphous phrase "vocal placement" over any >accurate system of achieving maximum resonance with such instruments >as the spectrograph or the simple vowel mirror. We even allow >ourselves to be confused by a description of the very foundation of >vowel study, the vowel formant. > >Finally we reject learning the descriptions of the musculatures and >cartilages that make the voice work and even consider the very names >of these vocal elements as too difficult to assimilate. We hide our >rejection of all of this more accurate vocal talk behind the oft >repeated ideas that they are not important to us because we cannot >see them, we have been told their function is involuntary, and, while >performing, we should not be aware of how we sing. > >I say WE in all of this because I am no different from anyone else. >I have found it most difficult to learn any of it and I have resisted >at every step of way as I become better informed. But every bit I >have been able to embrace has improved by singing and, without any >doubt, made me a more effective teacher of singing.
More recently he wrote the following (Pharyngeal space):
>Basically, any conscious attempt to enlarge the pharyngeal area or >any part of that area results in little more than a tensing of the >muscles that would be in involved in achieving this goal. A much >better and easier method is to produce a particular vowel sound, >imitating the sound as produced by the teacher in the speaking voice >and then applying this pronunciation to the singing voice. > >We achieve alterations in the vocal tract much more quickly by >imitating a particular vowel which creates the desired vocal tract >configuration automatically. Although the vocal tract is possessed >of many voluntary muscle systems it basically functions as an >involuntary unit because we manipulate it through our skills at >imitation more than through our conscious awareness of its voluntary >potential.
I was very glad to read both of the messages from which I quoted above, and am impressed that the same person would write about the importance of learning the names and descriptions of the structures of human anatomy that are used in singing, as well as about the ineffectiveness of directly attempting to control those same structures. I suspect that the interest in learning some basic anatomy will increase as singers and singing teachers understand how to translate anatomical knowledge into practical, effective application that results in better singing. Although I find myself in agreement with the views expressed in both of the messages from which I have quoted, I often find myself wondering how my knowledge of anatomy can help me be a better singer or teacher. Still, I'm sure that a more accurate, true understanding of human anatomy must be more helpful than a less accurate or false one, and I find myself irritated when I read or hear descriptions of singing that are obviously absurd. Lloyd, I'd be interested in reading how your improved understanding of human anatomy and functioning has helped you to become a better singer and a better teacher. I think that some specific examples could be very helpful. I have in mind something along the lines of "Before I knew THIS, I used to have my students do SO AND SO, but afterward I had my students do SUCH AND SUCH". Perhaps the application of anatomical knowledge is not so straightforward, but then again maybe it is.
John Link
http://www.cdBaby.com/JohnLink
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