Vocalist.org archive


From:  LesTaylor@a...
Date:  Sun Jun 25, 2000  11:40 pm
Subject:  Re: [vocalist-temporary] Training Methods


Dear Lloyd,
Thank you, that's precisely the kind of answer I was seeking.
You wrote:
> Because learning to sing well is such an individual, unique skill it
> is best taught individually and with a uniqueness that fits each odd
> talent.
Exactly, for teacher and student.

> Studio teaching is a problem for any education system that is founded
> on the concept of mass production or a generalized approach that must
> be used because of cost restraints.
Or one in which the "success" of the program is determined by the tuition
accrued via the popularity of the courses.

> I have mentioned before that any education system that considers
> its students to be consumers is basically viewing their product as
> little more than something one buys, uses, and throws away.
I've never seen a system quite like that. I have seen a very few that seem
overly concerned with acquiring tuition, but most are pretty darned good.

> But if education is to have any real meaning, it will change the people
involved,
> both student and teacher and administrator. And that change is life long
and
> on going.
We are all works in progress. Some, like me, take a little longer to reach
their full potential, if ever.:-)

> All of the examples you give could just as easily be taught in a
> generalized, larger class with the possible exception of the last one
> (what your voice is best suited for) and many universities do provide
> such a course.
In a general sense, I agree, they could. In a specific sense, everyone is
unique and what makes other people want to see them perform is that
uniqueness. Some people shouldn't audition for some kinds of performing
and a good, honest teacher can tell them straight up. You can't do that in
a classroom setting because you'd hurt people's feelings. In one-on-one
lessons the teacher can be more specific.

You can't find out as much about what a student can really do in a classroom
setting. I try to bring something of myself to every part I play. That makes
it real for me (or nearly so). I was thinking how to find out about
auditions, how to audition, stage deportment and dress all in an individual,
personal, taylored sense. :-) The process of how to learn a song or role
effectively to me at least is the most intimate of all, because of the
individual gifts we each have that you've already mentioned.

Some people have totally unique palettes with which to create their art.
Dugazon's and Falcone's come along and because they are so unique make their
own place. If their teacher had tried to make them a cookie cutter product,
they may have never become what they did.

>If we attempt to train artists we encourage the individualism of each
artistic
> expression.
I absolutely and utterly agree. That's exactly what I was asking for. You
know Lloyd I think we probably agree on most everything only express it a
little differently.
Warmest regards,
Les

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