- Title Pages
- Dedication
- Acknowledgments
- Introduction
- Epigraph
- 70 The Singing Teacher in the Age of Voice Science
- 71 On the Invasion of Vocal Pedagogy by Science
- 72 The Invisible Instrument?
- 73 Have You Read the Literature?
- 74 Taming the Terrible Triplets of the Vocal Tract
- 75 The Three Musketeers of Tension
- 76 Gorillas, Giraffes, Lions, and Gazelles
- 77 Male and Female Created He Them
- 78 In Search of the Tenth Rib
- 79 Teaching Voices of the Opposite Gender
- 80 Instinctive, Artistic Singing
- 81 Let’s Build a Straw Man! (The Technique-versus-Artistry Debate)
- 82 The Misuses of “Scientific Information” in the Teaching of Singing
- 83 Relax and Sing?
- 84 Easily, Not Lazily (Tonicity in the Singing Instrument)
- 85 The Effect of Tongue Position on Spectra in Singing
- 86 The Role of the Jaw in Singing
- 87 The Incorrupt Jaw and Tongue of Saint Anthony of Padua
- 88 How Big Is the Big Sound?
- 89 Feeling, Hearing, and Seeing the Voice
- 90 Spectrographic Analysis of the Singing Voice
- 91 Vowel Definition in a Performance by Jussi Bjoerling of <i>Vesti la giubba</i>
- 92 Spectral Components of Five Cardinal Vowels in the Soprano Singing Voice Considered by Means of the Sequential Vowel Diagonal
- 93 A Brief Spectral Study of Vowel Differentiation and Modification in a Professional Tenor Voice
- 94 What the Vocal Arts Laboratory Can and <i>Cannot</i> Do
- 95 The Singer and the Otolaryngologist
- Index
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
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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- Title Pages
- Dedication
- Acknowledgments
- Introduction
- Epigraph
- 70 The Singing Teacher in the Age of Voice Science
- 71 On the Invasion of Vocal Pedagogy by Science
- 72 The Invisible Instrument?
- 73 Have You Read the Literature?
- 74 Taming the Terrible Triplets of the Vocal Tract
- 75 The Three Musketeers of Tension
- 76 Gorillas, Giraffes, Lions, and Gazelles
- 77 Male and Female Created He Them
- 78 In Search of the Tenth Rib
- 79 Teaching Voices of the Opposite Gender
- 80 Instinctive, Artistic Singing
- 81 Let’s Build a Straw Man! (The Technique-versus-Artistry Debate)
- 82 The Misuses of “Scientific Information” in the Teaching of Singing
- 83 Relax and Sing?
- 84 Easily, Not Lazily (Tonicity in the Singing Instrument)
- 85 The Effect of Tongue Position on Spectra in Singing
- 86 The Role of the Jaw in Singing
- 87 The Incorrupt Jaw and Tongue of Saint Anthony of Padua
- 88 How Big Is the Big Sound?
- 89 Feeling, Hearing, and Seeing the Voice
- 90 Spectrographic Analysis of the Singing Voice
- 91 Vowel Definition in a Performance by Jussi Bjoerling of <i>Vesti la giubba</i>
- 92 Spectral Components of Five Cardinal Vowels in the Soprano Singing Voice Considered by Means of the Sequential Vowel Diagonal
- 93 A Brief Spectral Study of Vowel Differentiation and Modification in a Professional Tenor Voice
- 94 What the Vocal Arts Laboratory Can and <i>Cannot</i> Do
- 95 The Singer and the Otolaryngologist
- Index
