In a message dated 4/3/2001 8:46:25 PM Eastern Daylight Time,
michael.chesebro@w... writes:
michael.chesebro@w... writes:
<< As most voice teacher admonish their students
"Do NOT listen to yourself as you sing! You cannot hear what you are
really doing." One must have a sense of feel for the production that will
override that urge to drive the voice when the acoustic situation provides
little feedback. If you allow it, the cerebellum will respond to the lack
of auditory input. You will find yourself pushing away unless you have
developed the skill to maintain your production in the face of virtual
auditory void. That is where those other upper neuron circuits come into
play and will inhibit the urge to blast. >>
another reason not to listen to (different from 'hear') oneself is that
the sound is the result of the action of singing. in the continuing
execution of an action, our attention is not on what we have already done
nor, is it on what we are currently doing (ever try running while looking at
your feet?), it is on what we are just about to do. in singing, in this
regard, we have two choices: we can either execute actions we are reasonably
sure produce particular sounds or, we can execute actions inspired by
impulses other than the creation of particular sounds that result in sound.
talking, for example, usually involves trying to make a point, convey a
story or get an idea across. we are focused on the action of saying the
words that convey the point we are trying to make. the sound of our voices
will often reflect our involvement in what we are talking about. this sound
includes tone, intensity, volume, etc.. inflection is enacted. by the
time you hear the sound of your voice, the time for inflection is long gone.
we don't plan anger, laughter, joy, embarassment, etc. unless we are
pretending.
in the act of pretending, by the time you hear the sound coming out
'wrong', it is too late to fix it. in pretending, one must study the
actions that produce the desired sound in order to reproduce the actions that
produce that desired sound. the more specific the sound, the more specific
the action must be and the more rote-like the approach must be.
different styles have different expectations as to whether or not one
has to produce a particular sound. many styles have great inovators who are
followed by a mass of imitators. whether you are an opera singer trying to
fit into notions of a fach or a pop group trying to be the next 'backwash
boys' or 'insink', you are more than likely going to be interested in
reproducing particular sounds.
on the other end of the spectrum is the artist who has something to say
and says it, leaving it up to others to decide what style it is or whether or
not it is appropriate to concensus reality's notions of a style in the case
of the artist using pre-existing material.
in between lies the artist who prefers to create a new twist to the
'same old'. this is a person who may wish to have guidelines as to which
sounds they will have at their disposal but use them as whim dictates.
mike
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