So, Mike, What's wrong with singers who "look as if they're trying to see over a fence on the highest pitches" ?
I mean, as long as they're not trying to look at the top of a ladder, with their eyeballs ridiculously squinting upwards.
See, I perfectly got your point about irrationally linking pitch to height, but don't you think a little focus as you're nearing the naturally brittler extremities of your range won't harm? That is, mentally clinging to a dot in the distance in order to keep a line taut that would otherwise be likely to sag?
But then, if giving direction or perspective to your vocal line can prove helpful, who cares if it's horizontally, laterally, vertically, or any other way? For spaniards and italians for instance, a "high"-pitched voice may be called a "thin" voice (voz fina, voce fina), the measure beeing "thickness" or "breadth" there. Is it closer to what a true "right conception" of pitch should be? Unfortunately, once you've stated "pitch is pitch, period", any supposedly convenient visual correspondance to this purely acoustic phenomenon can't be but arbitrary, "misconception"-like.
So at the end of the day, what's the fuss about the ordinary pitch/height connexion standing in the way?
Just wondering,
Bart
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