lloyd,
i understand the origin of the term 'international school' (and after
reading too many richard miller books, frankly, am quite sick of it. perhaps
'singing of the italian imperialist school'?).
concerning the the slightly lowered larynx leading to that ratio we
were discussing, if i read you correctly (don't underestimate my ability to
miss the point), i can think of several singers who sing with a lowered
larynx who don't produce the phenomenon we've been discussing- mel torme,
scott walker, jeff buckley (dare i say, the voice of barney rubble?).
gillyanne kayes, in her book 'singing and the singer', as an advocate of the
jo estill school, describes this phenomenom as being caused by a narrowing of
the epiglottis by the aryepiglottis muscle. in doing so, a narrower tube
going into a larger one would seem to create an actual physical size ratio
where lowering the larynx would seem to only make the existing relationship
longer. ms. kayes refers to this as the twanger.
this 'phenomenon' exists in a lot of country singers who do not lower
their larynges and who produce this 'twang' (not to be confused with
nasality). there are some heavy metal singers who produce the twang with a
high larynx and no nasality.
when you said "it is the kind of singing that is usually associated
with good operatic singing and requires that all styles of singing be equally
available within the technique of the singer", did you mean that (in theory)
it should enable the singer to sing any style of music or, did you mean that
any style that does not fit into this technique (and the sound it produces),
is not legitimate (as opposed to 'legit')?
mike
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