In a message dated 6/20/2002 12:49:14 AM Eastern Daylight Time, lloyd.hanson@n... writes:
> In a complete contrast to the stylistic demands of classical singing, > other styles of singing may choose to emphasize the transition found > in the diphthong and actually relish the lack of optimum resonance > that is the result of this approach. Often this difference in > approach to the selection of optimum resonance is the primary > noticeable difference obtained when a classically trained singer does > pop or show tunes.
lloyd,
this is an excellent point. as i read your response, it occured to me that there are such fundamental differences between classical and non classical music, they should almost be considered different artforms, not a difference as painting is different from sculpture but even further apart, just as music is different from dance (that might be an exaggeration).
this fundamental difference is not only evident in singing, it is evident in the use of other instruments as well. consider the difference between the use of percussion in the classical orchestra vs. big bands and rock bands: in the classical orchestra, percussion is treated like a flavoring (like jimmies on an ice cream cone), in the big band or, even more so, in a rock band, it is the drummer who anchors tempo and all tempo changes (usually). these fundamental differences in role certainly have an effect on how the percussionist developes their skills. the trumpet in the hands of a maurice andre is a very different animal in the hands of a miles davis. where maurice andre developed a remarkable consistency of tone, miles davis explored every possible sound one could make with a trumpet.
so often, my friends in high school would ask "how can you stand that opera s__? it all sounds like screaming!" and, so often i have heard classical singers refer to rock, and other, as screaming. clearly, in the light of this discussion, at least, classical and non-classical singing are so different that judging one by the criteria of the other, is a mistake.
mike
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