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    RICHARD MILLER-The-Structure-of-Singing-171-260 - 3-3

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    Cristina Marian
    This document discusses research on the technique of "covering" in singing. It raises questions about how to interpret limited scientific studies on vocal techniques given differences in tonal ideals across cultures and schools of singing. While some research suggests covering produces a darker vocal quality by lowering the larynx and expanding the pharynx, many voice teachers view these as artificial means and prefer techniques that avoid overly darkening the voice. The document questions whether vowels should have major differences in quality between speech and singing.

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    RICHARD MILLER-The-Structure-of-Singing-171-260 - 3-3

    Uploaded by

    Cristina Marian
    50 views1 page
    This document discusses research on the technique of "covering" in singing. It raises questions about how to interpret limited scientific studies on vocal techniques given differences in tonal ideals across cultures and schools of singing. While some research suggests covering produces a darker vocal quality by lowering the larynx and expanding the pharynx, many voice teachers view these as artificial means and prefer techniques that avoid overly darkening the voice. The document questions whether vowels should have major differences in quality between speech and singing.

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    This document discusses research on the technique of "covering" in singing. It raises questions about how to interpret limited scientific studies on vocal techniques given differences in tonal ideals across cultures and schools of singing. While some research suggests covering produces a darker vocal quality by lowering the larynx and expanding the pharynx, many voice teachers view these as artificial means and prefer techniques that avoid overly darkening the voice. The document questions whether vowels should have major differences in quality between speech and singing.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    50 views1 page

    RICHARD MILLER-The-Structure-of-Singing-171-260 - 3-3

    Uploaded by

    Cristina Marian
    This document discusses research on the technique of "covering" in singing. It raises questions about how to interpret limited scientific studies on vocal techniques given differences in tonal ideals across cultures and schools of singing. While some research suggests covering produces a darker vocal quality by lowering the larynx and expanding the pharynx, many voice teachers view these as artificial means and prefer techniques that avoid overly darkening the voice. The document questions whether vowels should have major differences in quality between speech and singing.

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    © All Rights Reserved
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    of 1

    152 The S tructu re of Singing

    W hen subglottic pressure and airflow are com m ensurate with


    the need for balanced, resonant sounds in the singing voice, som e
    epiglottic participation in general sphincteral activity m ay uncon­
    sciously take place. (One of the reasons the laryngologist asks
    patients to sing a falsetto "ee” is th at the epiglottis is positioned p er­
    pendicularly and does not get in the way of an exam ination of the
    vocal folds as it does in the back vowels. Obviously, "covering,” with
    its introduction of vowel m odification in the direction of the back
    vowels, has som e relationship to epiglottic position.)
    How does one interpret the limited scientific inform ation on
    "covering”? Are researchers aw are of tonal ideals different from
    those exhibited by their subjects? Do we approve of the sounds
    m ade by th e subjects? Do we agree with the aesthetic dem and th at
    fosters the pedagogy which has produced those results? For exam ­
    ple: "The general im pression is that the quality of th e voice is
    ‘d a rk e r’ in singing, som ew hat as it is w hen a person yaw ns and
    speaks at the sam e time; voice teachers som etim es describe the
    effect as covering.”
    The sam e source (Sundberg, 1977a, p. 84) goes on to say th a t "It
    is interesting to note that voice teachers ten d to agree th a t the
    phar ynx should be w idened in singing, and som e of them m ention
    the sensation of yawning. In o th er words, a low larynx position and
    an expanded pharynx are considered desirable in singing.”
    However, the extent of pharyngeal distention and of laryngeal
    depression varies from school to school. Indeed, it m ay be th a t the
    prevailing viewpoint am ong teachers of singing is th a t pharyngeal
    expansion and a relatively low-positioned larynx occu r as a con­
    sequence of p roper inhalation and rem ain during the w ell-m anaged
    b rea th cycle, and are not induced by conscious localized actions.
    Stretching the pharynx and forcefully depressing the larynx are con­
    sidered by m any teach ers to be artificial m eans of vocal production,
    contributing to th at m uch "d ark er” voice of the N ordic schools, a
    coloration th a t a large segm ent of the singing profession wishes to
    avoid. One does not question th e research m ethods b u t ra th e r the
    narrow ness of the field from which subjects m ay have been chosen.
    S undberg continues: "The low ering of th e larynx, then, explains
    not only th e singing fo rm an t peak b u t also m ajor differences in the
    quality of vowels in speech and in singing.”
    He adds (1977a, p. 88), perhaps in response to auditory experi­
    ences: "The singer does pay a price however, since the darkened
    vow el sounds deviate considerably from what one hears in ordinary
    speech.” [Em phasis added] But should vowels have m ajor differences
    in quality from speech to singing? W hich aesthetics do we follow?

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