Mr. B,
You've put your finger on what sounds, "out there" to be a point of
confusion. When a singer pursues a vocal style which, by its nature is likely
to
present significant threat to the singer's voice, what data supports a
"technique" in order to preserve their vocal health? Why should the subject of
vocal health merely be relegated, as your post implies, to classical technique?
Must teachers simply provide singers with disclaimers that singing the style
they
wish to pursue will probably damage them and then continue along as if a
"technique" exists which will contribute to that damage? Of what benefit is
that
to a student? To a teacher?
There is no doubt that amateur classical singers have plenty of vocal
obstacles, but perhaps have a greater potential of overcoming their vocal
problems by the very nature of the style and the technique which supports that
style.
Do modern evolving styles and techniques which allegedly support those
styles
(which often, by their nature, put the human vocal effort in competition
against,
rather than in synch with technological achievement) offer singers the same
potential benefit? Are singing teachers becoming more like technical engineers
or producers, rather than teachers of vocal development? Are we offering our
detailed analyses of what occurs when singers sing in a certain genre AS the
technique itself?
--Erica
|
|  |
