| | From: "Lloyd W. Hanson" <lloyd.hanson@n...>
Date: Wed Jun 28, 2000 9:42 pm
Subject: Re: [vocalist-temporary] Re: Seth Riggs, Speech Level Singing,Full Resume an...
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Mary Beth and Vocalister:
I feel the need to comment here regarding the most impressive list of
credits for the work of Seth Riggs. There can be no doubt of his
gift to the world of singing and the many performers who have gained
from his work.
I originally asked the question of his work with people in the Opera
field because a few of his explanations for vocal function do not
seem to equate with function as found in opera singers. This is not
to say he is incorrect but only to bring forward the fact of some
differences.
This has been discussed, and perhaps over discussed, on Vocalist
before and primarily centers around the idea that the vocal folds
dampen through medial or near medial closure to make possible the
register change into high voice. There are visuals of this
phenomenon via fiber optic studies but, to my knowledge, each of
these was done with an untrained singer as the subject or in speaking
mode. It is the belief of some that the vocal folds operate with
damping only during speaking or speaking volume singing which is
common when using a mike. The concept of damping is one of the major
explanations used by Speech Level Singing teachers as an explanation
of registration events and for the obvious success of some of their
targeted exercises through the passaggio.
However, studies of trained singers of opera indicate that such
damping does not occur. It would appear that the greater amplitude
of oscillation of the vocal folds which occurs in the intensity of
operatic singing would preclude the possibility that a portion of one
vocal fold could maintain its position with the opposite portion of
the other vocal fold which would be necessary to produce damping. If
no damping occurs then the vocal function is different from that
which occurs in Speech Level Singing registration events.
It was for this reason that I asked Beth about the opera singers that
had studied extensively with Seth Riggs and how successful they had
been with his techniques. The fact that names have been given was
not quite what I had in mind but I perhaps did ask the question in
such a way that that was a logical conclusion. Because I am
interested in vocal function I seek to understand as accurately as
possible the happenings that occur in the vocal mechanism in all its
uses.
--
Lloyd W. Hanson, DMA
Professor of Voice, Pedagogy
School of Performing Arts
Northern Arizona University
Flagstaff, AZ 86011
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