Dear Caio and Vocalisters:
It is always easy and possible to redefine any research to disqualify it after it is finished. One has only to change the parameters under which the research was conducted and it is no longer valid within the new parameters. But to do this is to deny the essence of research and, basically, to imply that any research that does not meet the needs of the one changing the parameters is not of consequence.
You are doing this within your last post. Consequently, your last post is not fair nor is it a reflection of rational thought as it pertains to research. Your allegations would not hold up in any graduate program and your allegations would be discounted. You are asking the researcher to shoot at a moving target.
That being said, your concerns are important and valid. They are just not valid in the context into which you have placed them.
It is obvious, based on your many comments about pops artists, that your primary love is non-classical singing. This means that the singing you are considering is basically singing that is amplified. Any amplified singing does not require the kinds of skills that non-amplified singing demands. This does not make it less important but it does make it very, very different.
All non-amplified singers must, of necessity, develop a technique that makes it possible for the un-amplified voice to be heard in large or small venues. Consequently, they must have clear vowel formants and a very decisive singing formant. This kind of vocal production is never necessary when singing with amplification.
Amplified singing basically is much less demanding on the voice. Whispers, sighs, clearing the throat, grunts, groans, breath phonation, pressed phonation, etc. all work with amplification. As a result, there is less demand placed on the vocal mechanism, less requirements to develop a technique of singing. Basically all that is required is an artistry and the desire to communicate. This is the reason that a pops singer can appear from nowhere, with little or no training and survive and be successful on basic music talent alone. Training is not as necessary.
A similar comparison could be made between the professional golfer and the quality put-put golfer. The professional operates without the benefit of bouncing barriers and curved surfaces. The put-put golfer never needs to develop a technique that survive the extreme stresses of driving a ball 350 feet.
Regards -- Lloyd W. Hanson, DMA Professor of Voice, Vocal Pedagogy School of Performing Arts Northern Arizona University Flagstaff, AZ 86011
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