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From:  "Lloyd W. Hanson" <lloyd.hanson@n...>
"Lloyd W. Hanson" <lloyd.hanson@n...>
Date:  Tue Feb 27, 2001  12:54 am
Subject:  Belting Revisted via Estill


Dear Vocalisters:

I have been re-reading some of the information that was put forward
by Steve Chicurel <schicurel@m...> via Sunil Cho and over the
by Steve Chicurel <schicurel@m...> via Sunil Cho and over the
signature of Barry Bonous regarding the differences between belting
and classically trained singing.

In this post a strong case is made that the primary changes between
these two forms of singing is in the vocal tract filtering that takes
place, produced primarily by
1 high larynx which gives a shortened vocal tract,
2 high tongue which reduces pharyngeal/buccal space or places
an acoustic obstruction between the pharyngeal and buccal space,
3 tight (I assume that means closed) aryepiglottic sphincter
which creates another acoustic obstruction, this time between the
epiglottic space and the pharynx
4 retracted ventricular folds which opens the space at the
bottom of the pharynx below the high tongue.

It is also claimed that the cricoid cartilage tilts which is "not a
part of any other quality" and that the thryroid can also be tilted
to "add a little sweetness to the sound. I am not sure how this
relates to the obvious need for the cricoid and thyroid cartilages to
change their positions relative to each other as pitch changes.

This same post states that the ventricular folds ( false vocal folds)
are in a "released" or neutral position for classical singing but
that they "see" high-power singing, such as opera (or twang), as
"work," and want to close. But in belting the ventricular folds are
kept im a retracted position.

And, as well, the larynx is "anchored" which displaces the effort of
the larynx and obtains that effort from much larger muscles such as
the sternocleidomastoid, latts, etc.

Each of the above appears to me to be a use of the vocal mechanism
musculature that is not normally found in most speech and classical
singing. High larynx, high tongue, tight aryepiglottic sphincter,
retracted ventricular folds, tilting of cricoid and thyroid
cartilages, anchoring the larynx so other, larger muscles can become
involved, all seem to imply that a hyper tension and extension is
present. It has been my impression that most successful
musculature/frame athletic achievements are accomplished by avoiding
as much unnecessary muscle tension as possible.

I write this not because I am against the belting idea in singing. I
have taught it when I needed to, but I have never found it
particularly beautiful regardless of who does it. To me belting is
an unnatural attempt to display emotion by creating the tension of
emotion rather than creating a synthesis of emotion which is the
nature of art. But, if singers need to develop this tonal ideal then
we, as teachers must either dissuaded them from attempting it, or
find a method of doing it that can be healthy and without the
seemingly undue tensions described above. Perhaps that can only be
accomplished by amplifying the voice wherein it is easier to imitate
the quality of "belt" without constructing the vocal tract
arrangements that have been listed.

That "belting" shows emotion in music is no more true than that
"vocal indicating" shows emotion in acting. Actors are carefully
trained to avoid "vocal indicating" because it is not an accurate
portrayal of emotional content. Perhaps singers should learn the
same lesson.

--
Lloyd W. Hanson, DMA
Professor of Voice, Pedagogy
School of Performing Arts
Northern Arizona University
Flagstaff, AZ 86011

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