Vocalist.org archive


From:  "Lloyd W. Hanson" <lloyd.hanson@n...>
"Lloyd W. Hanson" <lloyd.hanson@n...>
Date:  Tue Nov 7, 2000  4:35 am
Subject:  Re: LARYNX: up, down or at rest?


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the research was conducted and it is no longer valid within the new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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