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% TRAINING THE SINGING VOIGE
nation of self-consciousness, mental anxieties and fears. Extraneous arid unnatural bodily tensions must be obliterated from the behavior pattern. of the singer; the mind must be at ease and oblivious of all striving and the attention entirely devoted to the expressive and communicative purposes of the song.
Expressions! factors in singing. Besides requiring consummate technical skill and a highly specialized use of the vocal apparatus, singing is also to be considered as a form of self expression, governed by conditions of concentration, spontaneity and joyous release. The voice functions at its best when the singer's mood is buoyant and exhilarated. Carefree attitudes are more conducive to natural, spontaneous vocal release than are meticulous techniques; or the conscious manipulation of breathing and vocal muscles; or the planned "placing" of each tone. Joyous release throws the vocal apparatus into high gear when correct feeling tones are superadded to the mere intellectual communication of ideas. From these obserrotioiis the teacher may infer that optimal vocal conditions for singing on be induced by first promoting right thinking and feeling reactions m the student. In other words, wholesome satisfactions must always accompany good singing, even during practice periods.
Simgimg compared to speaking. Singing may be defined as an intensified form erf vocal utterance in which only some of the basic factors of speech are operative. Pedagogical comparisons between singing and speaking
consist; largely, of the "sing as you speak" approach, which is the use of cer
The "sing as you speak" approach has some pedagogical merit, however, especially for its possible psychological effect upon the freedom, spontaneity and cemmunicative expressiveness of the singing voice. Any |
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