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On the Art of Singing$
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Richard Miller

Print publication date: 1996

Print ISBN-13: 9780195098259

Published to Oxford Scholarship Online: May 2015

DOI: 10.1093/acprof:osobl/9780195098259.001.0001

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Feeling, Hearing, and Seeing the Voice

Feeling, Hearing, and Seeing the Voice

Chapter:
89 Feeling, Hearing, and Seeing the Voice
Source:
On the Art of Singing
Author(s):

Richard Miller

Publisher:
Oxford University Press
DOI:10.1093/acprof:osobl/9780195098259.003.0089

This chapter considers the three proprioceptive devices by which the vocal instrument is trained: feeling, hearing, and seeing. Singers are sometimes told that they cannot hear themselves sing. This is ill-directed advice, because the singer not only hears what is being sung but quickly learns to make assessments of the variety of sounds of which he or she is capable. Feeling and hearing vocal timbre are combined for both aesthetic and functional purposes. As for the vocal instrument, it is readily visible. Feeling, hearing, and seeing are essential to the development of a stabilized singing technique, one that permits repetition of coordination, and therefore should be given equal importance in vocal pedagogy.

Keywords:   vocal instrument, feeling, hearing, seeing, singer, vocal timbre, singing technique, vocal pedagogy, singing

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