Dear Mike and Vocalisters:
You wrote:
> while i think that singers like sergio franchi, alessandro safina,
>andrea bocelli, sarah brightman and charlotte church sing in a way that is
>much closer to the classical model, particularly the operatic model, there is
>still a difference between these singers and classical singers. the singers
>lloyd mentioned (sinatra, bennett, fitzgerald, etc.) are all great singers
>but, they exhibit a use of the voice that is distinctly different from the
>classical model.
I would, respectfully, disagree with your last sentence. The pop
singers I mentioned exhibit a use of the voice, in terms of vocal
technique, that distinctly the same as the technical use of the voice
by classical singers. Matters such as use of vibrato, conversation
voice or non-singing voice, tone color changes, etc which are a part
of the 30's to 50's voice stylings were expression choices, not the
sign of a different vocal technique.
But singers now use amplification to create, as you have stated, a
much wider array of so called "natural" vocal expressions which are
not possible without amplification. The classical technique of voice
usage which was developed over a 200 year period within conditions
that changed remarkably little during that time is no longer
necessary for these singers. Training in vocal technique, while
beneficial, is not required. With amplification it is now possible
to simulate even the classical model (Boccelli) such that the
classically trained are ofen unable to tell the difference until the
amplification is removed.
Surely the purpose of a proper vocal technique is to allow the voice
to produce tone in a healthy and efficient manner regardless of the
style of singing chosen as a form of artistic expression. However,
different expressive styles do make different demands on the use of
voice and this is the difficulty that the singer and voice teacher
must address.
If a singing style demands that the voice accurately imitate an
ongoing scream and if an ongoing scream is determined to be damaging
to the voice, then there is a real problem to be overcome by the
singer and the singing teacher to accommodate that particular singing
style. Otherwise, the singer will rather quickly use up his or her
voice for the sake of the chosen musical style. Some forms of rock
music have placed such demands on performers with disastrous results
because a necessary technique of achieving the realistic sustained
scream form of singing was not addressed nor even considered.
As opera houses grew in size. and orchestras grew in size as well,
and electronic amplification was not available, it became necessary
to develop a vocal technique that would meet the standards of a
healthy production as well as the needs of the chosen singing style
(opera). It was an ongoing achievement but it was accomplished
because there was no other way but discover what was possible without
outside help.
However, with amplification the outside help can provide what the
singer lacks and the singer is, consequently, less likely to consider
or even bother seeking a solution that is based on a more healthful
and, in my opinion, honest expression of artist goals. Amplification
and electronic manipulation of the voice is a great potential gift to
the artistic expression capabilities of the human voice but it cannot
replace nor correct a poor or faulty vocal production technique.
--
Lloyd W. Hanson
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