University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 2006 Voice sculpting: finding the voice within Hrynkiw, Patricia Irene Hrynkiw, P. I. (2006). Voice sculpting: finding the voice within (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/385 http://hdl.handle.net/1880/101386 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca
Transcript
University of Calgary
PRISM: University of Calgary's Digital Repository
Graduate Studies Legacy Theses
2006
Voice sculpting: finding the voice within
Hrynkiw, Patricia Irene
Hrynkiw, P. I. (2006). Voice sculpting: finding the voice within (Unpublished doctoral thesis).
University of Calgary, Calgary, AB. doi:10.11575/PRISM/385
http://hdl.handle.net/1880/101386
doctoral thesis
University of Calgary graduate students retain copyright ownership and moral rights for their
thesis. You may use this material in any way that is permitted by the Copyright Act or through
licensing that has been assigned to the document. For uses that are not allowable under
copyright legislation or licensing, you are required to seek permission.
Downloaded from PRISM: https://prism.ucalgary.ca
UNIVERSITY OF CALGARY
Voice Sculpting: Finding the Voice Within
by
Patricia Irene Hrynlci
A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES
IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY
The undersigned certify that they have read and recommend to the Faculty of Graduate Studies for acceptance, a thesis entitled "Voice Sculpting: Finding the Voice Within" submitted by Patricia Irene nkiw in partial fulfillment of the requirements for the degree of Doctor of Phi j..Lshy
Supervisor, Dr. Jim Pa IV adua Division of Educational Research
Co-Supervisor, Professor Phili
r. Bernie Potvin, Graduate Division of Educational Research
Dr. Jan Winchester, Graduate Division'bf Educational Research
Dr. Nicholas Zekulin, Department of Germanic, Slavic, and East Asian Studies
External Exam'fner, Dr. Tom Dust, University of Alberta
111
ABSTRACT
An overview of the literature indicated a need for more image based approaches
to teaching singing. Voice Sculpting: Finding the voice within is a class oriented method
derived from techniques used in an individualized instructional setting. Furthermore,
none of the conventional approaches were empirically tested for effectiveness.
Twenty six (26) students participated in a thirteen (13) week course with the
objective of improving their vocal technique. The basics of vocal technique were taught
focusing on verbal/visual imagery or cues which resulted in an individualized
singing/vocal language. A cartoon image was developed to assist cognitive/kinesthetic
awareness as it relates to singing. In addition, a tool kit, including personalized cue
cards, ajournal, and exercise tape, was assembled by the participants of the study.
The pre- and post-test vocal measures indicated a significant change over the
thirteen (13) week period. The results are discussed within the perspective of
researcher/instructor and student evaluations as well as the course effectiveness. Further
implications including the development of a manual and CD for the practical application
of classroom instruction are also explored.
iv
Acknowledgements
My heartfelt thanks for the love and encouragement of:
Michael, Arianna, Taressa and Mikie Marie, Rob, Noel, Nathan, Aidan and Bobby
Ernie and Sandy Atkinson Eugene Cramer Bruce Gore Barrow
Glennis Buehning
My sincere appreciation and thanks to my Supervisor Jim Paul, Co-Supervisor Philip May and my Supervisory Committee.
V
Dedication
With love and gratitude to my mother, Frances Irene Hrynkiw.
vi
Table of Contents
Approval ii Abstract iii Acknowledgments iv Dedication V
Table of Contents vi List of Tables viii List of Figures ix
CHAPTER ONE: Silence Inspired Sound I Etudes, New Beginnings 1 A move to the big city 2 Musical impressions 3 The opera comes to our city 3 Developing my tonal concept 5 Discovering my vocal potential 7 Singer as teacher 11 On becoming an opera aficionado 13 Getting the credentials: the university experience 14 Voice sculptures in the air 16 Hearing my question 17 A Review 23
CHAPTER TWO: Listening to Sound Technique 24 Reviewing the Literature 24 Research focus 46
CHAPTER THREE: Research Methodology 50 Study Rationale 50 Course 50 Course Participants 51 Technical Aspects and Equipment 53 Data Methodology 53 Judge Adjudications 55 Student Questionnaires 56 Student Tool Kits/Journals 57 Student Final Projects 58 Teacher Journal and Observations 58 Class Activities and Lectures 59 Data Analysis 64 Qualitative Measures 65 Quantitative Measures 66
CHAPTER FOUR: Findings of the Study 67 Overview 67 Judges' Ratings 68
vii
Table 1: Correlations for Judges Pre-test Ratings 69 Table 2: Correlations for Judges Post-test Ratings 70 Table 3: Means and Standard Deviations for Vocal Exercise Measures 71 Table 4: Two -Tailed t-tests for vocal measures 71 Questionnaires 72 Table 5: Percentage Responses to Entering Questionnaire 73 Table 6: Percentage Responses to Exiting Questionnaire MUPF 571.07 74 Student Tool Kits/Journals 74 The Class Experience 75 Pre-course Evaluation 76 Mid-course Direction 79 Course Finale 80 Teacher Observations 81
CHAPTER FIVE: Classroom to Classroom 83 A gift for me 83 Recapitulation and Discussion 84 Format of a proposed Student-Teacher Manual 97 The 'Voice Sculpting' Computer Model 99 Further Implications, Limitations, and Conclusions: 101 Sound Inspired Voice Sculptures 104
B]BLIOGRAPHY 105
APPENDICES
Appendix A 111 Course Information 111
Appendix B 116 Judge's Information 116
Appendix C 124 Entering Questionnaire - MUPF 571.07 124
Appendix B 126 Vocal Exercises to accompany cassette tape 126
Appendix F 127 Sample of Student Cue Cards 127
Appendix G 128 Kwaq Gallery 128
Appendix H 135 Sample of Class Lecture Handout Sheet 135
Appendix I 137 Lecture Synopsis 137
Appendix 139 Dona Nobis Pacem 139
Appendix K 140 Master Class 140
viii
List of Tables
Table 1: Correlations for Judges Pre-test Ratings 69 Table 2: Correlations for Judges Post-test Ratings 70 Table 3: Means and Standard Deviations for Vocal Exercise Measures 71 Table 4: Two -Tailed t-tests for Vocal Measures 71 Table 5: Percentage Responses to Entering Questionnaire - MUPF 571.07 73 Table 6: Percentage Responses to Exiting Questionnaire MUPF 571.07 74
ix
List of Figures
Figure 1. Gender Distribution 51
Figure 2. Academic Discipline of Participants 52
I
CHAPTER ONE: Silence Inspired Sound
Singing has been a significant part of the world's cultures for over three thousand years. It may be found in many different forms and guises, ranging from the ancient Greek game-song to modern-day performances of the medieval carole, Mongolian overtone singing, Maori haka, Vlach gipsy songs, Schumann's Frauenliebe und Leben, Japanese Yokyoku and Dire Strait's Ride Across the River. The common element in each of these cultural artifacts is the use Jt ute fltttklcut vtit tt a p2tt1vu1at W'ay, Uiat %JIÜ W&JuiU
and describe as "singing." This description does not (necessarily) put a value on the cultural act but merely defines it from other kinds of artistic and vocal activity (Welch, 1994, p. 3).
Swirling, twirling, and dancing with feet that never touch the kitchen floor.
Squeals of delight accompanied only by the soft reassuring drone of daddy's voice.
"Rum-pa-pa-pa-pa, rum-pa-pa-pa-pa." he sins. Perhaps simple rhythms to him, but a
little girl hears sounds full of meaning -- a sculpting of a young ear.
A series of vocal vignettes follow. Each notes a life experience culminating in
the nresent study of Voice culnting: Finding the voice within,
Etudes
New beginnings
Tt is a "mud-luscious-nuddle-wonderful" day in a rural southern Allerta town.
The tables in a two-room school house are all set for the Annual Spring Concert, and, of
course, the "Teddy Bears' Picnic." Our grade one class is abiizz with excitement and the
1From the song, In Just Spring, music by Violet Archer, lyrics by e.e.cummings.
2
crepe paper bear hats are most authentic when combined with a good imagination. I love
to sing and cannot wait to perform. Finally, the time arrives.
As the introduction to the song is played, the children are brought together in a
typical choir formation. "If you go down in the woods today you're sure of a big
surprise," the song beckons. I am transformed into a teddy bear and true to the words of
the song I leave the group to frolic with the other picnickers at their tables ... my teacher
also remains in character; she embodies a really really mean mama bear, Although I am
reprimanded for that "solo" performance, my teacher appreciates my singing voice. In
two months time she proudly leads me by the hand to sing in the Kiwanis Music Festival.
A move to the big city
I miss the comfortable and familiar surroundings of our small town, but it is
exciting and adventuresome to be in the big city. My sister and I are thrilled to have a
real piano as well as piano lessons. We put on informal concerts for our parents,
relatives and friends and we both really enjoy singing together. Seeing the notice for a
newly formed choir, we eagerly sign up. Our first meeting is in the choir loft of our local
church. Nervous with anticipation, we arrive early for practice; our backs are straight
and we are ready to sing, Our choir director is a young nun who quickly gets down to
business and passes out the music to a simple song. Upon the second reading of the song,
she declares, "Something is off! Patricia could you please remain silent."
"GULP, Me! Be quiet?" I whisper to myself, Mortified I feel my face burning
as I freeze to the church pew.
3
"But, it's not her; she's a good singer!" pipes in my sister, as the choir proceeds
with another run through of the song.
"Hmmm, its still happening ... Patricia, please re-join the singing," the director
prompted. I know that it is the girl next to me who does not find her pitch. I did sing
albeit with a great deal less enthusiasm.
Musical impressions
Apart from the above experience the years in elementary hoo1 were most
positive. My favourite class was music, and I could not wait to try out a new song or to
sing one of the old familiar tunes. Above all, the ringing vocal quality of our
exceptional soprano Welsh music teacher inspired me, Her well-focused beautiful voice
shaped my tonal concept of what good singing should be, and I hoped to sound like her.
I can remember thinking, "This must be what a nightingale sings like - clear, melodious
and strong," The highlight of my elementary school years was singing the lead role in the
operetta, "The Little Blue Angel."2 I felt that the stage is definitely a place for me.
The opera comes to our city
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Arts3 is presenting Mozart's opera, Cosi fan Tutte,4 My parents are always conscious of
taking my sister and me to "cultural" events and this is no exception. I especially like
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and the only other place is church in the daytime. Still, this evening occasion calls for
our Sunday best clothes and I am wearing my favourite blue dress. It is a warm summer
2 The Little Blue Angel, music by James 0. Fluckey, lyrics by Edith Quick. The Banff Centre of Fine Arts Centennial tour, July 30, 1967, Lethbridge, Alberta.
4Cosifan Tutte (All women so do), a 2-act opera, by WA Mozart, with a 1790 debut.
4
evening as we pass the outdoor fountain of the newly opened Genevieve Yate's
Memorial Centre. What a dazzling sight! The chandeliers are alive and the huge hail is
filled with grayish purple cloth seats balancing everyone in their most special evening
attire. When the lights dim and the curtains go up I am thrilled. The sets look so real
that we are transported into another time and place. The women wear gorgeous velvet
gowns in deep colours of burgundy and purple, and the men are in white blouses with
lace, knickers with white stockings and black shiny shoes with brass buckles. T think the
men look funny in their pure white wigs.
Best of all, are the voices of the leading singers', three men and three women.
My favourite singer is a. young red haired soprano whose character i Despina, Des,
is a matchmaker and not only does she have a good voice, but she is a very amusing
actress. I lose myself in her role. I imagine that is the part I would choose! At one point
during the opera Despina has everybody laughing as she comes out dressed like a
minister. She is wearing a black moustache with a black tied-back wig, and she is
spouting off her lines in a nasal, twangy voice. Although I laugh, I secretly wonder, "She
sure is brave to get up there and sing like that, just so that people will laugh! I'd worry
that people might think that I sound that way most of the time!" (Obviously, I was not
able to understand completely what her role is all about).
The next morning T try to swallow and realize, "Ooowww.my throat is killing
me!" It feels positively raw. After thinking for a few minutes about the previous
evening's performance, I realize that I had been silently trying to sing along with the
female singers! "How do those opera singers keep singing for hours on end without
5
vocal strain?" I wonder. I can hardly wait until I am old enough to take private singing
lessons.
Developing my tonal concept
Gathering my collection of music, mostly English folk songs, I am off to my
regular Saturday singing lesson. My teacher is a jovial Englishman with a reputation as a
seasoned pipe organist and choral conductor. "Her voice is as clear as a bell," was a
comment that had frequently been made about my singing. I guessed that sounding like a
clear bell is good, it must be the right way to sing. After all, I had won a few first place
prizes in the music festival s well g excelling on my singing exams,
"Clear tone and diction," demands my teacher, "no wobbles, exact pitch!" He
asks, "Are you breathing the right way?" I tense up my tummy muscles, he gives the area
a little press, "Good, that's the way" comes his reply of approval, Relieved, I let that air
out and relax so that I can actually sing! At one of the weekly lessons, there is a silence
as we choose my next selection of music. Just as I am about to sing again, I hear the
most amazing singing of my life! Floods of glorious sound descends from the upper
level of my teacher's house.
"Who is that singing?" I excitedly ask. Never had I heard anything like it.
Ravishing, rich, warm tone, with soaring high notes (full not thin), that sound like they
come from a different stratosphere! "Oh, that is just Joan Sutherland,"5 is my teacher's
flat, unenthusiastic reply. Whoever she is, I want to hear more. Awe struck, I realize my
tinkle of a be114ike tone is nothing next to her cathedral chime sound. Hard of hearing,
Sutherland, Joan, b. Sydney, 7 Nov. 1926. Australian soprano, singer of mostly operatic repertoire.
6
my teacher's wife is playing a recording of the famous Australian soprano, Joan
Sutherland, at near full volume. That event changes my musical life. I realize that there
is a very big vocal world out there!
Performance experiences, up until this point, included singing solos in annual
events such as the Kiwanis Music Festival or at church services at Easter and Christmas
as well as singing at, and getting paid for, the occasional wedding. Until now, my vocal
model hm been the Dutch soprano R11y Ameling 6 and T have several of her recordings,
Her beautiful lyrical voice and superb artistry made me love singing even more. Some of
my favourite music was found in the songs of Franz Schubert7. Although I sing songs in
English for my tcachcr, it is not long before I insisted they be sung in their original
language of German, I was coached in this regard by my German-speaking piano teacher.
My best friend, an excellent pianist, and I entered and won first place in the Kiwanis
Music Festival in the nineteen and under class, when we were. only fifteen years old,
Next, I am in grade ten at school I am prepared and ready to take my grade ten
Royal Conservatory of Music8 singing examination. The examiner, is affectionately
known as Mr. Opera in Canada, During his tenure at the Toronto Opera School, he
taught an impressive roster of almost every Canadian opera star from the 1950's and
1960's. My music is very well prepared, as my own teacher is an experienced Royal
Conservatory of Music examiner, However, I am quite nervous, Immediately after lunch
my accompanist and I are escorted into the basement room of a local church. The
6Ameiing Elly, b. Rotterdam, 8 Feb. 1938. Dutch soprano, singer of mostly concert and recital work. Schubert, Franz. b. Vienna, 31 Jan. 1797. Prolific composer, wrote over 600 songs.
8ROya1 Conservatory of Music, Toronto. Established in 1886. Music training institution, nation wide examining.
7
examiner is very congenial and attempts to put me at ease. Once my accompanist, the
singing teacher's wife, takes her seat at the piano, I look at her with astonishment and
whisper, "He's so-o-o old!"
"What? You're cold?" she asks.
"NO, BE'S SO OLD!" I emphatically repeat - louder than need be.
"Oh, yes, he's OLD," replies, loudly, my accompanist.
Horrified, I am soon relieved to hear a genuine chuckle from my examiner, Hard
of hearing, my accompanist had taken out her hearing aid because she claimed it made
the piano sound tinny. Less anxious, I begin singing and everything goes along as
planned, Atone point I glance at the examiner and am quite taken aback, The
adjudicator is trying to pull an antacid tablet from the rest of the role and flips the mint
onto the floor. He then proceeds, in a most undignified manner, on his hands and knees,
to chase and eventually capture and eat the mint, By this time I am definitely more
relaxed. (My singing was a success and the entire experience was unforgettable.) Once
the examination is complete, he chats for a bit and asks me what my future plans are. I
tell him that I want to be an opera singer, He suggests two names of former students
whom he thought might make good teachers. Upon high school graduation, I move to
Calgary and arrange lessons with one of those singers.
Discovering my vocal potential
I approach my first lesson with extreme enthusiasm. I am pumped. As I knock
on my new teacher's door an attractive, charismatic dark haired man greets me. His
8
speaking voice is that of a resonant baritone. The first part of the lesson is an interview,
"What type of singer do you want to be?" his voice resoundingly asks.
"I like opera the best and I hope to become an opera singer," is my firm reply.
With that response, my new teacher gets right into the teaching.
First, there is a lesson on proper posture for singing. "Stand up against the wall,
now walk away from it; pretend that you are balancing a book on your head," he directs
me as he walks about as though on stage, Next, breathing for good singing, "Put your
hands on my waist and feel what happens when you breathe in," are his instructions. He
fills up his lungs with an inhalation that seems to suck in most of the air in the room and
his middle section becomes like a flat tire being filled, Nostrils flare, upper body inflates
and he reminds me of a bull ready to charge. I am truly amazed, but more than
anything, I feel uncomfortable as my hands are still on his waist. He makes a "p..sss..sss..
sss" sound to show the incredible amount of oxygen that he had just inhaled, Next he
sings a few notes. "ROAR," is what I hear! Talk about LOUD.
"Try some dog pants, like this: hah, hah, hah, hah," he demonstrates. I attempt to
draw in a long, steady breath and imitate my instructor's diaphragmatio pumping, My
feeble attempts make me well aware of what I need to practice when I get home! I need
to mimic my new teacher, and breathe from down there! This breathing is not what I
learned with my first teacher: 1 can not do that either!
I studied with this reputable Canadian opera singer for a few months. My voice,
through imitation of his robust sound, became considerably LOUDER. Because he was a
performer with little teaching experience, it was difficult for him to instruct a beginning
singer. My singing and concept of vocal sound was passing through a continuum: first, I
9
sounded like a choir boy soprano, and second I tried to sound like an opera singer, but
really I only sounded like a louder choir boy! I was riddled with questions: how may I
get a full sound with a vibrato, how long will I take until it does not hurt to sing for long
periods of time, how might I get the answers to such questions? I was exhausted after the
vocal warm up portion of each lesson which defeated the purpose of preparing to sing a
yet more difficult repertoire. Following several months of lessons, I sensed that
something was missing: my vocal improvement was the product of imitated
manufactured sound; a sound not my own.
Meanwhile, I became employed as a Library Assistant in the Music Division of
the University of Calgary MacKimmie Libraiy, Among other extremely interesting
discoveries, I was thrilled to find an entire section of vocal pedagogy books, wonderful
books written about how to sing! Perhaps, here was a source whereby I might get some
answers to my questions! Realizing my keen interest in the subject and without any
hesitation the music librarian, herself an accomplished singer, encouraged me to order
any additional books on the subject I so desired. With generous funds available soon
there were numerous additions to a rather outdated collection.
The first opera that I was involved in, entitled Rigoletto,9 has only a male chorus.
It was the second production of the newly formed Southern Alberta Opera Association10.
T uu c. ,f +li rc oiiA 4tr11n,4 + 1 rn c'+., iv r ,v.io rrt r ho'crr 1. VVCt.3 tXZS.# *Z& tin.! ,tJW ViSas .3 ViSS* VS.! VASt SSZSS*.S Vu L'S.? USA '5' ASS LLtJ 5U 5'.'"0, Y%#AJ SSSaC4
velvet costume and hat. It was in that production that I met my, soon to be, new singing
teacher. He had one of the leading tenor roles and I remember really liking his singing.
9Rigo1etto a 3-act opera by G. Verdi, debut 1851. '°Presently, Calgary Opera.
10
My new teacher of voice was able to relate to a novice singer. He was able to
answer my flurry of questions, albeit more through actual doing than by word
explanation. Many times he would demonstrated how a particular note should be
approached. His fine tone and easeful vocal production helped me to aspire to the same.
At one point he exclaimed, "If only I'd gotten her green!"
I remember saying to myself, "I AM green, what does he mean?" It was then
obvious to me that I was manufacturing a combination of choir boy sound with what I
imagined to be, an operatic sound. Neither sound conforms to a balanced vocal
production as exhibited in my teacher's "free" vocal sound. Although I did not receive
many compliments in those first few year. of training my voice did go through a series
of developmental changes. Creating the sound of the moment, ridding oneself of undue
tenseness and developing a keen sense of inner ear relationships to pitch and tonal colour
were key concepts to my evolution as a singer. I tried to enjoy the learning process and
be patient but secretly wished I were ten years older because certainly I would be able to
sing by then. The teaching style of my new teacher followed along the lines of the Old
Tialian School"; the master would sing and the pupil would imitate how the sound is to
be produced, not the sound itself. Among the many new vocal techniques I learned, was
to release my held breath. This became the most important concept. When I would
breathe in and tense up my diaphragmatic area my teacher would say "Start walking,"
Walking would release the undue tenseness I had associated, wrongly, as "breath
support" for all those previous years of singing. Resistance in the breathing muscles, as a
11 Old Italian School, a singing school of thought, of principles, or precepts.
11
result of the vocal production, is required and not a holding of those muscles. I was
encouraged to feel the physical sensations associated with singing including where the
different vowel sounds are placed (i.e. a nasal vowel such as [i] would be felt in the nose)
as well as taking note of howl was holding the wrong muscles for singing including my
tongue and jaw. To add to concepts presented by my teacher, for many of my voice
lessons, I brought along concepts that I was reading about. I schedule extra time to talk
with my teacher and finally I got answers to my questions about how to sing,
Singer as teacher
After two years of constant queries, my instructor says, "What you need is a voice
student, it would be a real learning experience."
"Not yet," I counter, "I don't know enough about vocal technique. I would ruin
the student's voice!"
Soon after this discussion, a call comes from a female student hoping to take
singing lessons. She is a self proclaimed non-singer. This individual states that she sings
so poorly that people laugh at her vocal attempts. I naively reassure her that anyone who
can speak, can sing. Rather reluctantly, I agree to teach my first student. Of course, I
never let her know that I have never taught a single lesson before!
My tape recorder is all set up and the student arrives. After a few cordialities it is
time to sing. "Relax, breathe.. . ." I ask her to simply sing the notes going up the scale
after playing the beginning note on the piano.
"FT niI I " she soundc. I play the note again.
12
"Uuhhh," she growls a second time, on the same pitch! I turn my head away. I
silently pray to God to HELP! In a state of panic and shock I try not to let my emotions
show. After regaining composure, I remind myself to settle down and THINK! I re-play
the note at which she was growling. She can match it every time, after all it is her only
note!
Following one month of lessons she is able to make a sound on the initial note
that matched the pitch played on the piano. After waiting several seconds, until the inner
ear (sometimes also called "the mind's ear," similar to "the mind's eye") hears the
correct pitch, she is able to sing up one note and back again to the original note. As time
goes on another note is added, Eventually- an intervallic s kip12 is introduced. The ear
training process takes most of the lesson time. The basics of tone production are added.
I attempt to show her how to be expressive with speech by practicing exercises such as
making a siren sound for extending her vocal range by going through a series of pitch
variations from low to high and back again. I also encourage her to ask questions with an
energetic, enthusiastic tone while taking note of the rising inflection of the voice. By
tape recording her voice this student is then able to hear and differentiate her own speech
and singing sounds in a more reliable way rather than by hearing her voice only through
her own skull, or through bone conduction.
Within a period of a year this newly confident vocalist sings the folk song
"Greensleeves" as I accompany her on the piano. At our last meeting, she tapes her
singing as she wants to play it for her mother who said that her daughter would never
12 Intervallic skip, the difference in pitch between two notes
13
sing. Incidentally, I later tell my own singing teacher that I thought it was a mean trick to
send such a challenging student to a first time teacher, but much to my surprise he said he
never heard of the young woman!
For fifteen years, I studied vocal technique with the same teacher. He was
knowledgeable and highly skilled as a teacher and performer. As well, he was able to
communicate and demonstrate proper singing in a clear, concise way. I tape recorded
each lesson and kept a singing journal, Performance experiences proliferated,
Highlights include: singing in the opera chorus of the local professional opera company
for eight seasons (getting stage experience while watching and listening to the "pros");
four years singing lead roles for an Opera in the Schools touring company, which is
associated with the professional opera company; attending Opera School in the summer
programme in Courtenay, B.C.; premiering various new music compositions including a
few written especially for me; recording several concert programmes for the CB,C,; and,
singing numerous recitals and solos with professional music organizations.
I now know how to sing, but from the start of my lessons it was understanding
the elements that led up to the final product that especially interested me, A an aside,
while rummaging through my old belongings, I came across the programme of the first
opera that I had seen as a child, Mozart's Cosi fan Tutte. Much to my delight, I
recognized it was my ve'y instructor in the lead tenor role.
On becoming an opera aficionado
My appetite for reading books about vocal production and listening to fine
singers, especially Joan Sutherland, became insatiable. Indeed, by the time I was twenty-
14
two years old my personal record collection included over one hundred and sixty
complete operas. I owned everything from Monteverdi, Mozart, Puccini, Bellini, Strauss
and Wagner. I studied the music first by listening to the entire recording while following
along with the libretto. 13 Later, I added either the piano reduction score or the orchestral
score for analysis. Presently, my own operatic repertoire consists of knowing and
memorizing some twelve complete major roles as well as numerous arias.
Tt is not easy to find someone with whom to share this passion for opera and the
voice. However, I did. A particularly prominent connecting conversation is one I recall
with the, then, library coordinator to the University's Music Department. He is a
professor who has an extensive voice, composition and musicological background,
Feeling rather knowledgeable and confident after my, thought to be, extensive reading, I
would debate various principles relating to vocal pedagogy with him. During one such
conversation,. I naively pointed to a paragraph in a newer book and stated, "See, it says so
right here."
His response, though amused, was not mocking, and he said, "Pat, you can't
believe everything you read," I sheepishly took note of that and at the ripe old age of
nineteen years, I began to read from a more discriminating perspective. I now read more
carefully to formulate good methods to focus on my becoming a teacher of voice.
Getting the credentials: the university experience
Apart from my private lessons leading to Associate Diplomas in Voice, Piano,
and Speech Arts/Drama, my self education, while working in the library setting, and
'3Libretto, the text that a composer sets to music.
15
experiences as a performing singer solidified my growth as a singer and teacher. Because
of my background I auditioned for, and received, advanced placement (starting in third
year) as a voice performance major in the Bachelor of Music Programme at the
University of Calgary. This degree immediately led into a Master of Music, a voice
performance degree. During this time I became a tutorial assistant and experienced
further the joy of teaching singing at the university level.
My Master of Muiç supervisor gave me full rein s.c a vocal instructor,- but as one
with the same vocal methodology he was always there to keep me on track and assist me
when needed. He is the same professor that years before had admonished me not to
believe everything I read, This professor has, over the years, influenced and encouraged
me more than any other, becoming my primary mentor. Having completed my Master of
Music degree, I was hired as a university sessional instructor 14 with added
responsibilities as a music education instructor of Vocal Techniques, For the past seven
years, I have been a teaching member of the Music Faculty, The University of Calgary.
There is one other major university influence that has had a great impact upon my
thinking as a voice teacher. Although my pnmaiy voice teacher remained so during my
entire student career, I had several stints with other instructors of voice. Working with
each made me further formulate and confirm what I now know to be vocal truth.
T-Terbert-Caesari wrote a book (1969) with that very title, Vocal Truth, Herbert-Caesari
(1936) also wrote the most intriguing voice book that I have ever read, titled, The Science
and Sensations of Vocal Tone. When I first read The Science and Sensations of Vocal
14 instructor on a seasonal contract
16
Tone, years ago, I knew instinctively that this must be the way to sing properly. The
book's diagrams were yet to make sense to me, but I was determined someday to unravel
their mystery. Voila! Another great teacher appears on the scene. I met him while he
was substituting for one of my university professors. This Professor had actually studied
with Herbert-Caesari for a number of years.
Voice sculptures in the air
It must be ten years ago since I ultimately made the call to my long time voice
teacher. The answering machine casually picked up my message. "Ernie, we're not just
voice teachers!" "We're voice sculptor.ct !" CLICK I
My first recording of opera singers was a gift to me from my sister entitled, Ten
Famous Sopranos. 15 My favourite opera singer, Joan Sutherland, is one of the sopranos.
Initially, apart from the voice of this Australian diva, my discrimination of vocal
expertise was lacking and all of the singers sounded very much alike. It has taken years
of listening to voices to distinguish the uniqueness of each in terms of vocal quality. Part
of analyzing sound is to he able to differentiate between various voice types and
instruments. By listening and becoming aware of the subtleties, similarities, and
differences of the voices, in my now extensive recording collection, I learned to
appreciate each singing voice as an individual sound sculpture.
The human voice, though invisible, touches, physically the eardrum, and
emotionally our cores as human beings. Because the vocal folds are located in the
15 London Recording, The Decca Record Co. Ltd. (n.d.)
17
human body, the voice is obviously a very enveloped and "personal" instrument of
communication. When we speak or sing, vibrations are created and released into the air
in the form of sound waves. Those waves reach and stimulate the listener's eardrum.
When we speak or sing we become aware of the intrusion upon another person's sound
space as we witness That person's reaction. We become the receivers of both the silences
and the breaking of silence with sound. Singing intensifies the communicative effect of
the voice upon a listener, Hearing unlike our other senses vibrates our bodies our
feelings, our tonal existences.
The metaphor of Voice Sculpting first came to me when I imagined seeing air
seulptures illu.sjrtiye of vocal sounds, Tn the proces of breathing air in and releasing it
over the vocal folds and out again (passing through the throat, nasophraynx, sinus area
and mouth), a phonating sound shape is realized. This is the central premise of the
current study,
One evening before leaving to sing in a concert, I questioned my then two year
old daughter, "Are you going to be a singer like mommy when you grow up?"
Her indignant reply was "What do you mean? T am a singer!"
We are all born singers; singing is not only for the elite few, but it is for everyone
to discover and Voice Sculpting can assist to do just that.
Hearing my question
As a novice singer reading books on "how to sing" I noted a common theme in
the literature. Many authors maintain that their books are written for beginning singers,
18
but the language used in the texts to describe exactly how the act of proper singing is to
be accomplished changes the "novice focus." Still, I found the books intriguing knowing
that with my determination I would eventually be able to understand what these authors
are trying to describe. I realized that some day, I may be able to develop my voice to its
fullest potential. To verbalize that which I perceived was missing, across my learning, in
these books is now evident to me. What would have helped me most as I began singing
would have been a voice manual that provides an entire picture of the composite,
emergent, singer.
One book that I read, as I studied voice, is still one of my favourites. Simplistic
in format, unassuming in nature, it is a book written by Sister Louis Marie T-Teizler (1973)
entitled, Basic Technique for Voice Production. In her book, Heizier encourages healthy
vocal production, and she uses a vocal technique that improves both speaking and
singing, All styles of singing, from classical to pop, can benefit from this form of
pedagogy that encourages a concentration of purpose with instructions of "brain over
brawn" (p. 9). Repetition of words such as "THINK" and "ENTHUSIASM" focus the
beginning singer on more than simply making a louder, stronger sound after a few weeks
of training. Rather, emphasis is on the developmental, progressive approach of learning
to sing. As an aside, although I didn't realize it upon my first reading, the dedication in
this small gem of a book is to the author's "dear friend, Licia Albanese,"16 Licia
Albanese was one of the world's more revered prima donnas. Perhaps that was a fair
16 Licia Albanese, b. Ban, 22 July, 1913. Italian soprano, singer of mostly operatic repertoire.
19
indication of the author's own well-grounded theoretical and practical background.
Heizier's approach underscores the importance of the mind/body connection to becoming
a good singer. Her years of experience as a teacher, her use of simple and clear concepts,
and the much employed use of repetition have positively influenced my proposed Voice
Sculpting method. Especially relevant from Heizier to my work is the element of self-
talk and the repeated notion of fully concentrating on the task at hand.
Flow to Train Singers (1979) is another source that has endured the test of time
and substantially influenced my concept of how to teach singing. It is written by the
experienced singer and pedagogue Lana Browning Henderson. Most attractive in the
text is the section on vocal exercises that begins with an actual statement ofpuirose, For
example: in the "hee-ah" exercise, the "h"serves the purpose to initiate movement of air.
With increased repetition of the two note "hoe-ah" phrases, a building of the thoracic and
abdominal muscles used in singing takes place, Although the book is outdated in the
presentation of style, being aware conceptually of the reason one is performing a
technical vocal acrobatic confirms my over-all perspective of being able to fit the smaller
pieces into a larger picture, For instance, the transference of a technical exercise is used
interchangeably with a song structure and vise versa. My realization is, kinesthetic
awareness is developed through performing the vocal exercises and this concept is
realized as a new language of singing by sensation.
As previously noted, I began teaching singing while still working at the library as
a means of further satisfying my own curiosity and passion for the concept of "voice" as
an expressive instrument, As well, all of my voice pupils have taught me about the voice
teaching process. Realizing that language is very limiting as a vehicle for expressing
20
vocal concepts, throughout my career as a teacher I have attempted to develop other
forms of communication to enable individuals to be just that - "individual" singers with
their own unique vocal sound and style. Although I did encourage the functional aspect
of how to sing through my own role modeling as a singer (breathing, resonance, etc.), I
did not encourage the copying of my actual voice relating to imitated sound. However, it
is important to note that with the same voice type sound imitation will often occur until a
singer becomes more aware and confident of how to properly produce his/her own sound,
I continue to encourage my students to create their own sound -- a training of the musical
ear relating to pitch and tone as well as kinesthetic awareness when creating the singing
voice, These techniques are among the key factors in my teaching,
What has developed from a thirty year teaching experience, including sixteen
years as a university teacher both on a one-to-one level as well as in a classroom setting,
is a method of individualized vocal instruction I call Voice Sculpting. This approach
relates to the coordination of a singer's psycho-motor skills as well as his body/mind
connection in order to create intentional vocal production. A systematized programme of
study for the university students who are music and non-music majors has resulted. The
goal of such a Voice Sculpting programme, for these students, is not only to assist them
to learn to sing well, but also to enable those who become music student teachers to
guide/teach others in music class rooms to do the same, It is my, contention that although
natural talent varies, singing is not for only the elite few. Singing is a learned activity
that can be developed and enjoyed by everyone with a voice. For example, my first
student was able to produce vocal soundv but what was needed to sing was acute ear
21
training as well as basics in the fundamentals of voice production leading to ease of
production.
Contained within Voice Sculpting is voice development incorporated into a vocal
ideal of a so-called "natural" voice regardless of any specific vocal style be it the singing
of folk songs, pop songs or classical art songs. This type of vocal production is defined
by Reid (1983) who, commenting on natural singing, writes:
Phonation (any sound produced by the vocal cords) in which the vocal mechanism operates in conformity with nature's laws and within the legitimate, movement potential of the vocal muscles. (p. 246)
Herbert-Caesari (1936) is a prolific master of voice teaching whose own
schooling is based upon the techniques passed down by word of mouth from the masters
of the Old Italian tradition. In his book The Science and Sensations of Vocal Tone (1936)
he defines a completely natural voice as one that, "without training, is able to articulate,
enunciate, and sustain with perfect ease and freedom all vowels on all pitches in its
particular compass ..." (p. 4). The degree to which a singer possesses such an effortless
vocal production varies from individual to individual, Demonstrating the Voice Sculpting
process brings the singer from whatever degree of "naturalness" already apparent to full
vocal freedom as described above by both Reid and Herbert-Caesari. Further, Voice
Sculpting encourages active participation of the vocalist at all times, The singer is
constantly teaching him/herself how to sing by means of self directives in the forms of
words and images. These auto-instructional devices, the cue cards, an exercise tape and
journal, are aids in producing and recognizing the proper kinesthetic responses to the
vocal sound. The singing neophyte is instructed in a clear language that can be easily
understood one concept at a time. That the teacher is an excellent role model is self
22
evident. However, whereas various vocal education books mention this all important
factor, few, if any, focus directly on this point. I suggest teaching university level music
students by means of of self learning as well as enabling them to teach others to do the
same.
Aesthetically speaking (as it relates to voice quality or tone), the style of voice
teaching that is employed in this study is that of the Western classical genre with its
origin in Italy. In the Italian form of v0ca1i7.ation, the voice is treated as an instrument to
be developed through intensive technical training and used in the discipline of a highly
artistic manner of singing. In the Voice Sculpting method, the Italian model of vocal
production is the vocal ideal, The advanced form of this vocal model is one whereby the
singer has a highly trained vocal production or skill level. Although I have had several
students who have become very advanced singers with a high level of technical ability,
some of the most rewarding teaching endeavours have been, not in training the advanced
vocalist, but in guiding the so-called "non" singer to find his/her own voice. The
transition through this vocal process leads to voice production within a comprehensive
holistic approach. Voice Sculpting is a method developed to enhance one's sense of self
by allowing an emergent singer to overcome possible psychological inhibitions as he/she
relates to the very personal nature of voice production found in the form of singing. Not
only will vocal production improve, but the added advantage of self expression through
singing will result. Therefore, the central research question contained within the present
study of Voice Sculpting: Finding the voice within, is: Can the method of Voice
Sculpting teach a person to improve his/her singing?
23
A Review
Singing has been a significant part of the world's cultures for the past three
thousand years. Singing has also been an integral part of my life. My quest for learning
to sing well and to teach others to sing well began some three decades ago. Retracing my
own voiceprints in the process of designing, implementing and completing this study has
inspired and led me to explore and to rediscover the historical roots of vocal pedagogy.
With the underpinnings of proper vocal technique already in place it i my goal to update
and reinterpret past approaches on the art of singing as well as to connect and solidify
those techniques and methods in the present study of Voice Sculpting: Finding the voice
within,
24
CHAPTER TWO: Listening to Sound Technique
Reviewing the Literature
The vocal methods and techniques advocated in Voice Sculpting have been
formed by drawing primarily on techniques learned from my solo singing experience.
These techniques, modified by further training and experience., have been the basis for
my teaching singing both in the studio, on a one-to-one basis, as well as in group or
classroom vocal technique classes. In my case, my pedagogic vocal techniques can be
traced back through the literature to the so-called Golden Age of Singing during the 17th
and 18th centuries in the Old Italian School.
However, in exploring my topic, it is important to locate solo vocal technique
,,n+h 4-1, 14—n+.,rc,. i + . i A YiLLL VoCa C&.3 JL1%'ZL L'J III IC,W 'C4I,'JX .. L IJL &L
review of choral technique literature as well as a cursory review of current articles
published in major music education journals, relating to singing and the teaching of vocal
music, follows, My desire is to utilize solo techniques for strengthening singing in a
class environment. Therefore, I will address the question of what might be learned from
studying the literature focusing on choral vocal techniques. Recent dissertations, vocal
treatises, pedagogy books and manuals farm a. more extensive review in the latter part of
the chapter.
25
An examination of the choral techniques literature as it relates to vocal technique
includes several very fine books. Choral Pedagogy written jointly by Brenda Smith
(2000) (prodigy of the famed choral conductor Wilhelm Ehmann) and Robert Thayer
Sataloff, D.M.A., M.D. (frequent contributor to the Journal of Singing) contains
abundant pertinent information devoted to the relationship between vocal pedagogy,
choral conducting and voice science. The emphasis of the book is to help choral singers
develop and preserve healthy vocalization. The book frames examples of creative and
useful terms given for healthful singing, and they include: "restful alertness" (p. 111),
inhalation as an "act of refreshment," and "air should be received gladly" (p. 118).
Sataloff speaks of sensations of resonance being of the utmost importance (p, 120) when
singing.
Paul F. Roe's (1983) text provides essential information in concept learning and
he writes, "Students should be led to discover generalized concepts through the use of
various behavioural ways of experiencing each concept" (pp. 61-62). Roe's discussion of
vocal technique is well grounded in traditional pedagogical theory and the entire book is
informative as well as practical, Among the numerous tips to the teacher/conductor, one
especially holds true for my methodology, and it is: "teach for concept learning.
Students should be led to discover generalized concepts through the ue of various
behavioural ways of experiencing each concept. Learn concept by doing" (Roe, 1983,
pp. 61-62).
Don L Collins is a choral conductor who greatly admires the work of Ferdinand
Orossmann, former conductor of the Vienna Boys Choir, In Teaching Choral ?V1UciC,
Collins (1999) details the various vocal and choral techniques used with the boys by
26
Grossmann. Purportedly, the vocal technique detailed therein is most effective when
taught in a "consistent, concentrated manner" and, "provides for a meaningful singing
experience" (p. 231). Numerous vocal exercises are included in Collins' text.
Teaching Kids to Sing (Phillips, 1996) contains 90 sequential techniques to be
used as a method for a singing programme geared towards children and adolescents,
grades 1-12. Most useful in the text is the inclusion of various exercise record charts to
enable the instructor to keep a record of which exercises have been done, by whom, and
on what days. The charts will assist in the pacing and planning processes as well as
provide a framework for possible vocal testing. An earlier guide, referred to by Phillips
p, 49; p, 253), is the complete Handbook f Voice Training by Richard Alderson (1979),
The author presents his experience and ideas concerning the relationship of modem vocal
research with modem vocal training. Simplistic exercises are employed both to
strengthen the basics of vocal technique, such as breathing for singing, as well as to
correct nearly any vocal problem a teacher may encounter. The explanations are all in
layman's terms, and Alderson's experience as a classroom music teacher can also be
found in a number of good suggestions he makes in the area of classroom planning. For
example, Alderson suggests that "for the first four class periods include brief lectures on
the four elements of singing: respiration, phonation, resonance and articulation," this, he
continues, "establishes a common terminology among the students as well as making
them aware of the components of singing" (Alderson, 1979, p. 226).
Unlike the expedient method of self-instruction, obtained through heightened
awareness of the body/mind connection found in Voice Sculpting, Phillip's method is one
that is most effective as a training programme spanning over a longer period of time,
27
perhaps years. The vocal exercises contained in his method include a great deal of
mimicking, versus the internalization of concepts taught in my vocal training method.
Most helpful to my methodology is his inclusion of record keeping, lesson plans and
charts. Alderson's experience as a music teacher and his suggestions for lesson planning
are also the most useful concepts to be gleaned and used in my voice teaching
methodology.
Vocal music education most often focuses on choral singing technique,
Therefore, of the nearly 300 articles found in my search, the majority of information
obtained relates to group singing in a choral setting, reflecting this reality. Whether
singing as a soloist or in a choir, choral conductors all agree on one thing -- promoting
healthy vocal habits. A number of articles, such as those that follow, have been written
on improving vocal technique through proper vocal warm-ups concentrating on the
body/mind connection as well as singing state preparedness. The selected published
works include innovative and creative ideas that can be employed with individual singers
and transferred to a group or choral rehearsal. Also included are several articles that
speak of the crossover between soloistic and choral vocal techniques.
Spurgeon çOO2) assists the choral director with ideas on how to recognize signs
of unhealthy singing and emphasizes the importance of listening to student thoughts
about their singing. Tn hr article, Gaston (2003) also discusses issues surrounding
proper vocal awareness. She includes tips on warming up the whole body, pointing out
that "muscles have memory" and how much simpler it is to replicate a good sound once a
proper response or position i5 learned, The author also states that even though the major
28
portion of a music teacher's class may be in assisting groups of singers, every voice
teacher works with individuals at some point.
Two articles in particular present actual vocal exercises to aid the teacher with
class warm-ups. Stegman (2003) explains that warm-ups are more than just singing; the
individual must learn to listen and learn specific musical concepts and activities. Tips
are offered for developing innovative warm-up drills. Briggs (2000) recommends using
"activation exercises" to "awaken students' voices, minds and breathing mechanisms"
when singing in a choir. The catchy title of Briggs' article is Vocal Warm-ups, From the
Sublime to the Ridiculous. He suggests that five note plainchant melodies as well as
tongue twisters (such as "hubhl-gum") turn a "drab" rehearsal into a lively, productive
one. Along with acknowledging the importance of a proper vocal warm-up, voice
teacher Cynthia Cooper (2002) adds the all important topic of vocal health. She
encourages educating the students about good voice care during rehearsals and how to
put that knowledgeto use by daily practice through warm-ups including body awareness
and stretching exercises.
The role of the imagination in singing education provides the topic for discussion
in Nikitina's (2004) article. She explores how master teacher Phyllis Curtain is able to
teach a singer to mentally lead the vocal tone. Students are encouraged to trust the body
and translate mental image to physical action,
One of the most fascinating articles discovered in my reading is about African-
American concert artist, teacher and author Emma Azalia Hackley (1867-1922). Karpf
(1999) tells the story of this influential community music educator who was known as
"the vocal teacher often thousand." Apparently, Hackley organized her vocal
29
demonstrations into a sequence of progressive activities in which everyone present took
part. According to the description of the vocal warm-ups, Hackley used a series of
exercises including demonstrations of singers learning to have control over their
breathing apparatus, exercises in diction etc. How this solo performer transferred her
individual singing abilities to the masses especially interests me in my own quest of the
same.
Numerous books and treatises have been written about solo singing from both an
historical and pedagogical perspective. What follows is a selected review of the
literature that has provided the theoretical groundwork and further assisted me in refining
the methodology for the present study of Voice Sculpting: Finding the voice within.
Included is a brief overview of prolific singing masters and their treatises ranging from
modem influences to old. The books and manuals, explored next, on how to teach
singing have had the most influence on me as I have developed my own teaching method,
I have also been influenced by books I feel that show how not to teach and these are
examined with a compare/contrast exploration. The review begins with a representative
examination of recent dissertations and concludes with an analysis of several influential
research and methodology books.
An examination of current dissertations has revealed several topics relevant to my
study. Specific documents representing subjects relating to the Old Italian School of
singing are of special interest to me, as are studies relating to proper vocal technique that
incorporate the body/mind connection.
Ku (1993) poses a most intriguing question: "Can we achieve the same vocal
results today as did the masters of the Old Italian School?" He notes that during the 17th
30
and 18th centuries singers in Italy were taught extensive vocal technique that spanned
across four to ten years of training. He continues that it was only after that period of time
that the singers were allowed, by their vocal masters, to perform in public. He further
states that current voice students enrolled in university or conservatory settings in the
United States receive no more than 200 private vocal lessons in a five year period. This
treatise explores the issues relating to the adoption of a new multidisciplinary approach
to training singers, including concepts relating to the body/mind connection and singing,
Nineteenth-century voice master Manual Garcia II's singing methodology is
examined by Cathcart (2004). He wonders if those techniques used in the Old Italian
School of song and the "bel canto" opera remain relevant in current vocal pedagogy, The
author substantiates his claim that Garcia II is a pivotal figure in vocal pedagogy by
researching three Canadian University programmes who incorporate specific techniques
from Garcia Ti's theories on vocal production such as vocal onset and vocal registers, An
incredible find, as a researcher, is the extensive and all-inclusive geneology list of
teachers and students stemming from the Garcia lineage, some 20 pages in length!
Another dissertation that specifically focuses on the technique of vocal onset is
written by Jones (1986). The vocal techniques espoused in this study are those firmly
grounded in techniques of the past, in particular, vocal onset relating to the "yawn-sigh"
and "mess di voce" 17 concepts of production. Links to, what the author terms, the "Be]
Canto School" of register blending, are discussed. Of particular interest to my research is
17 A dynamic device in singing, one begins at soft level to loud and back again to soft.
31
chapter six that addresses pertinent aspects of choral singing in keeping with proper
practices of solo singing.
A historical approach to training the vocal registers by author Ferranti (2004)
examines writings of the Old Italian masters including Tosi, Mancini and Garcia. He too
finds that the topic of vocal registration appeared to be the core of their training
procedures. Ferranti asks the question, "Can common ground be reached between the old
masters and contemporary teachers?" The answer being in the affirmative, The author
shows that through his investigations, vocal techniques have indeed been preserved and
passed down to singers of the present day.
Both Tosi and Manual Garcia are also Old Tt&ian masters mentioned, in a. study
by Weiss (2005). She shows how "The Alexander Technique" with the body/mind and
vocal production connection (including the principles of F.M. Alexander's teachings),
can also he found in the Old Italian voice masters' writings. The author further mentions
the body/mind techniques of Feldenkrais and speaks of breathing methods used in Tai
Chi, and specifically, referred to in the work of Carl Stough.
Along the line of the concept of the body/mind correlation to singing, Coward
(2002) discusses the self-monitoring systems of the singer in the form of auditory, tactile
and kinesthetic sensation. He speaks of how these systems are needed for making
strategic changes in voice quality, Because of the vast subject matter, only one element
of voice quality -- vocal projection, is examined in his work. Although Coward
recognizes the major role that the voice teacher plays in the process, he points out that
the student must rely on his/her self-monitoring systems to recognize and memorize
changes in voice quality.
32
As part of the vocal pedagogues' role in teaching, an awareness of the body/mind
connection is imperative. Lashbrook (2004) researches what he refers to as co-dependent
behaviour in the voice studio. Issues including self-esteem and experiencing one's own
reality are discussed in relationship to the physical aspects of vocal technique. Tools
such as keeping a journal and "mirror work" are encouraged to promote the author's
desired goal for an independent environment in the voice studio which he states "will
empower students to become interdependent singing artists,"
Two other dissertations also reflect on. the importance of the body/mind
connection in singing. Dosso (2004) presents a case study that discusses, among other
things, the power of breath to re-connect one's body and unlock emotions and the
psychological process of change in freeing the voice. Discovery of self through voice is
the thesis of Mackie (200 1) titled Embraceable me: Reclaiming voice through reflexive
writing and singing. The writer captures insights into both literal and figurative voice by
reflecting on both life and singing lesson experience.
Treatises on singing written before the 19th century are limited mainly to matters
of style, and the primary focus of 16th and 17th century writers about singing is on
performance practices. Even in the 18th century, technical aspects of the singing voice
are only touched upon. This is true with the exception of one 19th-century man's
contribution to the art of singing, Manuel Garcia U, Miller notes this with a quote from
Herman Klein, pupil and close associate of Manual Garcia II:
never in the history of solo singing has one individual so influenced vocal pedagogy as did Manuel Garcia U, Tt is fair to suggest that current international mainstream vocalism and many of its divergent nationalist
33
rivulets can be traced directly to interpretations of Garcia's admonitions. (Smith and Sataloff, 2000, p. 87).
With Garcia's invention of the laryngoscope (a simple two mirror device used to
observe the vocal folds during phonation) a new era of voice science began. Garcia was
able to verify and enhance what he learned from his father with his new knowledge
of laryngeal and vocal tract anatomy and physiology (Miller in Smith and Sataloff, 2000,
p. 86). The stellar roster of those singers under Garcia's tutelage, include Lind,
Marchesi, de Castrone and Santley. All of these great singers attested to Garcia's
mastery as a vocal guru, and Stark (1999) reiterates that Garcia was "undoubtedly the
most influential pedagogue of all time" (p. 225). With the invention of the
laryngoscope., there has been a steady increase in the numbers and types of instruments
with which the voice can be studied, and future studies relating to a computer voice
model, extending the Voice Sculpting method to include sound analysis, are of special
interest to this researcher.
Two other famous father/son masters of vocal pedagogy are Francesco Lamperti
(1813-1892) and his son, Giovanni Battista Lamperti (1839-1910). F. Lamperti's chief
contribution to the historic Ttalian school is his description of the lutte vocale,'8 the basis
for the appoggio'9 breath management, as well as the messa di voce technique of vocal
production. His son, G. B. Lamperti, further developed and passed on the vocal concepts
espoused by his father. Pupils of G.B. Lamperti include: Sembrich, Stagno, Bellincione,
Edyth Walker, and May Stone. William Earl Brown (1973), a disciple of G. B. Lamperti,
wrote Vocal Wisdom: Maxims of Giovanni Battista Lamperti, which is a collection of
18 The vocal contest or struggle. 19 The balance between the inspiratory, phonatoiy and resonatoiy systems in singing.
34
studio notes made during the period of 1891-1893. The influence of the Lamperti
maxims found in the book Vocal Wisdom: Maxims of Giovanni Battista Lamperti has
been paramount to teachers and students of singing alike. The format of the book
includes approximately one heading every two pages and there are fifty-four main
headings in the Table of Contents. Both philosophical and physiological issues relating
to vocal production are discussed and titles include: "Desire and Reflex;" "Overtones;"
"How Do You Breathe;" "Ready to Sing;" "Know Thyself;" and "The Soul of the
Singer." Each section is "food for vocal thought" and requires time for "digestion." The
no nonsense approach to singing is simple yet profound and this small book is a well
loved "Vocal Bible" of this writer, My primary voice teacher was also inspired by this
book and he was able to demonstrate and explain the concepts contained therein to me. I
often use quotes from Lamperti to better explain my own concept of vocal tone and
teaching methodology to my students.
Towards the close of the 19th century, the international Italian pedagogy model
was represented by non-Italian pupils of G.B. Lamperti including the Englishman
William Shakespeare (no, not the William Shakespeare), Shakespeare's treatises The
Art ofSinging (192 1) and Plain Words on Singing (193 8) are considered historically
significant and sometimes included in modern day references on singing. Shakespeare
reiterates the lutte vocale of the Lamperti school, Herbert Witherspoon, another direct
descendent of the historic international Italian school, wrote Singing (1925) and it
remains a classic of modern vocal pedagogy. He studied with Giovanni Battista Lamperti
and extended his master's line of thought. For example, Witherspoon believed in
35
creating the "sound of the moment" and argued against sensations first, "imitate method
not quality" (Witherspoon, 1925, p. 33).
Herbert-Caesari is an Italian pedagogue whose vocal lineage can be traced to the
great masters of the Old Italian School (Roman Schola Cantorum). Herbert-Caesari has
written several fascinating and imaginative books that combine concepts from his
traditional Italianate schooling with scientific notions he gained while working closely
with an acoustician tracing what T-Terbert-Caesari describes as "sound columns" (or
streams of vowels). He describes how a singer can essentially map and remember, by
physical sensation, where vowels are felt and placed, versus what one hears as a result of
bone conduction, in order to accommodate for the constant outside acoustical changes.
His books include diagrams showing the sound columns, platform of focus, and
resonance ball, among other such images and illustrated "sensations" (Herbert-Caesari,
1936, p. 70). Tn particular, T-Terhert-Caesari wrote, The Science and Sensations of Vocal
Tone: A school of natural vocal mechanics (1936), The Voice of the Mind (1969), and
Vocal Truth: Some of the things Iteach (1969), all of which are worthy of mention.
Along with Giovanni Battista Lamperti, Herhert-Caesari has most influenced my own
growth as an aspiring singer. My primary teacher's vocal technique emphasized those
same vocal techniques as purported by the above masters including singing by vocal tone
sensation.
American voice teacher Douglas Stanley had some influence on voice teachers
with his book titled The Science of Voice (1929). Also, in 1950 he revised the 1945
edition of his book Your Voice: Applied Science of Vocal Art. Tn it he declares that "all
figurative or imaginative language has been avoided" (p. ix). As well, he advocates the
36
employment of direct physical manipulations on the singer-- of course, all based upon
scientific principles. Very much into physiological experiments to explore voice as a
science, Stanley stood on the opposite end of the spectrum relating to imagery and
singing. He did not believe in what he considered to be "nonsensical" explanations of
how to sing. His viewpoints on splitting up and reuniting the vocal registers have been
further expanded by the writings of Cornelius Reid in his books Be! Canto: Principles
and Practices (1950) and Voice: Psyche and Soma (1975). Also noteworthy is Reid's
(1983) contribution of a very concise and useful sourcebook, A Dictionary of Vocal
Terminology: An analysis (1983).
Several publications have exerted a profound influence on mid-20th-century
vocalism. First, and most importantly, William Vennard's (1967) Singing, The
Mechanism and the Technic, and secondly, Appelman's combination of scientific
principles with vocal pedagogy culminated in his rather complex book entitled The
Science of Vocal Pedagogy (1967). These books were in 1973, the most often cited
pedagogical sources used in major university vocal pedagogical programmes (Hale,
1973). North American pedagogue Berton Coffin cannot he ignored when
acknowledging the giants in 20th century vocal pedagogy. He carried out extensive
research into the nature of sound in the physiognomy of the singing voice as well as
developed an aural procedure of sensing the harmonic structure of singing (Coffin, 2002,
p. 5). An intricate vowel chart, including precise vowel sounds and modification as they
relate to the various pitches accompanies each of his books or it can be ordered
separately. The user may set it along the back of the piano keyboard for quick
identification and reference. Coffin is a much respected voice researcher and he is able
37
to unite his knowledge of the phonetic properties of the singing voice with scholarly
interest in historic vocalism (Miller in Smith and Sataloff, 2000). Coffin's Sounds of
Singing (2002), Overtones ofBel Canto (1980), and The Sounds ofSinging (1976) are
Berton Coffin's major contributions. The extensive vowel charts found in the former
publications meticulously explain Coffin's concept of vowel formation and the effect of
specific changes upon vocal resonance with the reshaping of the vocal tract and the
consequential changes in vocal color/overtones. An interesting observation is the
correlation between Coffin's approach to the vocal tube and that of Herbert-Caesari's
sound columns as each relate to the acoustics of the singing voice. Both approaches
take considerable time to comprehend and apply, but are well worth exploring. These
methods of tonal production as they relate to the art of singing encourage direct active
participation and involvement by the individual singer to become aware of the
physical/mechanical aspect of singing. The singer learns to shape and reshape the vowel
and vocal tract, and to track and memorize sensations and feelings relating to these
sounds. The singer also learns to position and map a pitch/vowel/sense memory through
exploring and understanding the work of these two masters, pushing each singer to teach
him/herself to learn how to sing at an optimum level. It is evident in the complexity of
their respective methods that the authors' entire lives were dedicated to researching and
perfecting these precise forms of vocal production as they relate to artistic singing.
There are several authors each of whom provide a compilation and amalgamation
of a large array of varying ideas, opinions and theories that are or have been taught as
concepts of singing, in the realm of vocal pedagogy, spanning over a number of years,
Victor A. Fields wrote Training the Singing Voice in 1947. As a matter of interest, his
38
annotated bibliography alone contains 702 entries providing an excellent resource for
continued research into a number of pedagogical areas. Most aspects of voice production
are categorized including assorted pedagogical views and approaches on breathing for
singing, tone placement, resonance, positioning of the larynx in singing, and so on.
Following a similar format that includes further extensive research into a number of
pedagogical areas and issues, John Burgin (1973) wrote Teaching Singing. A later
publication by Brent Jeffrey Monahan (1978) completed the massive undertaking with a
wealth of information entitled The Art ofSinging: A compendium of thoughts on singing
published between 1777 and 1927. The above three books hold invaluable information
on vocal pedagogical sources, A more recent update for the past 20 years is yet to he
undertaken,
The work of Richard Davis (1998), A Beginning Singer's Guide, is worthy of
mention, In it he, among other things, puts numerous pedagogical viewpoints into an
easily understood perspective. He also includes excellent physiological descriptions
written in layman's terms. For example, the breathing muscles used in singing (p. 12)
and the extrinsic muscles of the larynx (p. 26) are described by Davis in a simple and
direct manner. Davis' text frames a discussion on common misperceptions found in
singing, and this is very informative as are the various charts including one on imagery
used in the teaching of singing (p. 39).
A definitive vocal reference source co-edited by Leon Thurman and Graham
Welch (1997) is to be found in Bodymind & Voice: Foundations of Voice Education.
Contributors to the text include experts in a wide field of vocal studies. For instance,
Van 'Lawrence is an otolaiyngologist; Peit is a choral music educator; Tobin is an
39
allergist; and, Feakes is an audiologist. The National Center for Voice & Speech has
published this veritable encyclopedia for exploring foundations in voice education.
There are five books contained in this work; each is divided into a number of chapters
(for example, book two has sixteen chapters). An overview of each of the five books
entitled "The Big Picture" introduces what information is to follow. There is an
exquisite and very graphic inclusion of colour photographs of the vocal folds, in varying
states of health, which are much superior to any diagrams I have seen.
Of the newer vocal pedagogy books available, Richard Miller's (1986) book The
Structure of Singing is already considered a classic. It gives a thorough approach to
vocal pedagogy based on sound scientific principles, Tn The Mew Voice Pedagogy,
author Merilee David (1985) emphasizes the importance of proper vocal health in both
speaking and singing, and she speaks of pedagogues today as "learning new ways to
teach old techniques so that the beauty of the individual voice can he developed to the
utmost without compromising its health and longevity" (p. xii). Pearl Wornihoudt (1981)
has developed a studio handbook for teachers of singing entitled Building The Voice As
An Instrument in which she demonstrates years of studio teaching experience. She
suggests some practical applications, adding understanding of the scientific basis of
singing in such vocabulary that provides a link to the older vocal traditions. Her overall
objective is to describe as simply as possible the various ways in which the vocal
instrument functions based on the scientific knowledge available to date. In her own
words, she "presents a specific process for which a healthy, efficient tone production can
he built" (Wormhoudt, 1981, p. 1).
40
Well known American voice specialist Oren Brown (1996) has written a valuable
source book, Discover Your Voice. His premise is that by discovering one's primal or
involuntary sound a singer is more able to produce a released singing voice. In Lessac's
(1960) The Use and Training of the Human Voice a similar concept of vocal production
that is referred to as "the call" is encouraged. He speaks of the synergism of all energies
involved in vital vocal communication, including bio-feedback and the psychology of
suggestion. Particular attention is paid to kinesthetic awareness and response before the
creation of sound and Lessac begins to explore the psychological implication of learning
through sensation and its relationship to research of that time (Lessac, 1960, p. 1). The
method he developed has been used extensively in drama training programmes
throughout the United States.
Until the middle of the 19th century theoreticians of voice were limited to
empirical observations based partly on aural evidence and partly on the physical
sensations reported by singers. With Manual Garcia U's invention of the laryngoscope all
of this changed, as he observed the vocal folds, in action, both of other singers and his
own. He was the seminal figure in the history of voice science. Still, how much singing
teachers and their students need to know about the physical functioning of the
anatomical, especially the vocal folds, has been a controversial subject in vocal
pedagogical circles across the years. This question of a scientific approach and what role
science plays as it relates to a practical and applied vocal method remains unanswered.
Anthony Frisell (1966) writes the following in his book The Soprano Voice: "medically
speaking, vocal science has made much progress in treating the victims of speech defects.
However, as a method of training the singing voice, it is useless!" (p. 4). One excerpt
41
written by both a vocal pedagogue and physicist is particularly meaningful and puts the
controversy into proper perspective. Thomas Hemsley (1998) writes in Singing and
Imagination: A Human Approach to a Great Musical Tradition of his experience when
giving a vocal master class. After the class the voice professor thanked him noting that
he did not really teach technique "as such." Hemsley's reply was, "But did the students
improve?" The response was a resounding, "Yes, all of them" (p.7). Hemsley, when
referring to this incident, states that "what people understand by the word technique can
be misleading or even counter-productive. Technique should be a matter of learning how
to mobilize, strengthen and refine the impulse to express emotions and thoughts through
vocal sound to improve the connection between the imagination and that vocal sound"
(p. 7). In a final quotation Davis (1998) sums up the above controversy when he notes:
The field of vocal pedagogy, which began as advice to singers has become increasingly dominated by hard science. It is a paradox that medical science - to which voice science is kin - usually debunks old accepted remedies, while voice science often gives proof to many of singing's traditional tenets (p. 120).
For the present study, it is important to examine the numerous manuals/
guides/handbooks that have been written with a more practical or applied approach to
singing. In this way, it is possible to glean those methods that have been deemed
effective by experienced music teachers and choral conductors over the span of the past
half century. Christy's (1974) third edition work Expressive Singing (a four volume
series, 3 editions) written to be used as texts for private or class voice instruction is one
of the best, if not the best known manual most often used in university or college
programmes in the United States (Hale, 1973). Hale's study is 33 years old and there
42
exists no recent study of the methods employed in vocal classes at North American
universities and colleges. A review of the literature indicates that the emphasis at both
the university and college level vocal teacher training is on choral and instrumental
techniques for group or class learning and not specifically on individual vocal techniques
to be transferred into a group situation. Christy's extensive and comprehensive approach
to vocal technique and methodology would take a considerable time frame as a course to
cQmplto, consequntly, th methQd is not a prQtictl pprQch tQ thp, tchingflrning
of vocal technique.
While searching and investigating manuals for beginning voice students two
b 99 stand 91Tt fr tliir trnly rnchanical appQgch tq tcaching wiw, Qratd S
Tate (1978) wrote Functional Voice as a guide for the novice vocal student. In
the book he includes a device called the "peg." The peg is a pencil broken off the length
Qfthre fingrs IQ be insrte4 into th moflth while practicing speaking and singing It i
to ensure an exaggerated oral position. The "diaphragm rack" is a board with carpet
wrapped around both ends, a two-by-four 24 inches long. Students are required to put the
board against a wall ac 'ccl thc tetcc of the iphg isc1 when prçsig
against the board. In addition, a "belt" tied around the diaphragmatic area is used to
develop and feel resistance in the muscles employed for singing. This concept of muscle
buii4ng as it rIates to impos4 muscular tnss in the breathing iTLU5Q1c$ is co, ptrwy
to opposing methods of the so-called "natural" development of breathing for singing.
Methods used in "natural" development rely on the singing itself to develop the muscles
used in singing, Tate appears "tam" wl;l ecnidering the following "methods"
developed by Alan Greene (1975) in his manual The New Voice.
43
The 1970s research into bio-feedback so fascinated Greene that he attempted to
incorporate various bio-feedback concepts as he felt they related to learning to sing.
Examples of his approach include desensitizing the tongue area by means of daily
practice (for about two months) touching various areas of the tongue and as far back as
the soft palate area (re-conditioning the gag reflex), wearing a bow-tie to train the larynx
(Adam's apple ) to go down, building and using a throat board to strengthen muscles of
the throat, and singing in a sowid box, etc The effectiveness Qf the above "extraneous"
devices as they relate to improved vocal production has not been proven. My preferred
method of choice when teaching singing is visualization through the use of appropriate
imgciy as it relates t9 proper singing, With this imagcry, cQncjitiQnçd rcpqnç they
relate to kinesthetic awareness and subsequent skill building in the various areas of vocal
technique would seem to serve the same purpose as do those purported by Greene. For
example, the "gag reflex" can be mtrqlled by learning tQ relax the throat muscles
("elevator" mi.thcles) for singing by imagining that the singer is about to take a drink from
a glass of water.
One of the books that incorporate a heightened bQdy awareness as it relates to
singing, including the use of imagery to achieve desired results is a choral technique
book which uses images drawn from everyday life entitled Voice Building for Choirs by
Wilhelm Ehmann and Fraijke Hascmami (1982), AnQtlier book Qf interest in this regard
is Vocal Development Through Organic Imagery by William D. Leyerle (1977). He uses
some amusing images including a picture of a back with a smiling mouth at its base. The
idea is that the student feels the expansiQn of the breath 5uppQrt as well as maintaining a
"happy feeling" (p. 17). Singing and Imagination: A Human Approach to a Great
44
Musical Tradition by Thomas Hemsley (1998), previously mentioned, discusses the
"why" and "what" of singing rather than what he feels the majority of vocal pedagogy
books emphasize, which is the anatomy and physiology of the voice alone. Vocal.
Authority is a fascinating account of the history of vocal styles and ideology by John
Potter (1998). One chapter is even entitled: "Elvis Presley to Rap: Moments of change
since the forties." Considering the often varied background of possible vocal students it
is always advisable to keep an open mind in this regard. As well, the music educator
must take note that "to be truly effective, vocal study must cover a broad range of
musical styles and performing parameters. It is the only way a student's true talents can
be identified and cultivated" (Davis, 1998, p, 2),
The Professional Vocalist by author and singer Rachel L. Lebon (1999) is a
handbook for commercial singers and teachers. Included in the text are chapters on
teaching the microphone singer as well as proper vocal technique for the Broadway
performer such as "healthful" belting. Her pedagogy is also sound when referring to
classical singing technique. For instance, breathing technique and how to produce a
"heightened resonance" for projected singing on stage, as well as how to prQduce an
individualized singing voice are featured. Seth Riggs is a now famous teacher of pop
stars in Hollywood. Riggs (1985) has coined the "Speech-level Method of Singing" and
written a very basic,, practical manual entitled Singing for the Stare, There is much
controversy in the field of voice pedagogy as to whether or not singing is an extension of
speech. However, from my experience and reading it appears that, more than anything,
the problem arises when one does not properly define the type of "speech" to be
"extended" into singing. Everyday speech often lacks energy and breath support,
45
projected speech or "stage" speech requires, among other things, greater amounts of air
and mastery over the breathing apparatus, as well as more flexibility and awareness of'
how best to employ the vocal resonators of the throat, mouth, nose and mouth, or as
defined by Berton Coffin (2002), the "vocal tube."
With the "voice" being a singer's instrument in mind, the Alexander Technique of
body awareness and alignment is the method presented in Pedro de Alcantara's (1997)
guide entitled Indirect Procedures. It is a musician's guide to "The Alexander
Technique." With reference to the singer, Alcantara makes a most interesting statement
related to this technique of body usage, specifically, with reference to respiratory
efficiency and he writes: "the better a singer uses her arms, the better she will sing." (p.
140). The book Expressive Singing. Daicroze Eurhythmics for Voice by J. Timothy
Caldwell (1995) expounds the technique of eurhythmics as developed by Emile Jaques-
Daloroze (1865-1950). Eurhythmics encourages expressive singing through "internalized
dance." Singing with Your Whole Self The Feldenicrais Method and Voice, by Samuel
H. Nelson and Elizabeth Blades-Zeller (2002) demonstrates, as the title suggests, the
"Feldenkrais Method" which purports to alleviate problems including muscle strain, and
physical illness in order to obtain optimal vocal performance.
The Tao of Voice is a holistic approach to voice production in which author
Stephen Chun-Tao Cheng (1991) encourages psychophysical development through
various forms of circular movement and in the words of the author "where East meets
West." With these words, this selected review of voice literature, from which the present
study takes its inspiration, may be concluded, having, in a sense, come "full circle."
46
A research focus
In Williamson's book titled The Research Craft (19 82) he states that the
researcher is both a scientist and the practitioner of a craft. He also quotes the noted
sociologist C. Wright Mills as defining a true craftsman as "someone who maintains the
image of a completed product from start to finish ... and, that it is in this sense that the
skilled researcher practices a craft" (p. 30). Even the great Michelangelo claimed to
simply carve the marble to reveal what he saw within, so too with the voice
trainer/sculpture. Husler and Rodd-Marling (1976) reiterate that:
nothing extraneous can be added to the organ of song; that all the imaginable qualities needed in singing lay latent and exist already within. He must also realize that nothing can release these qualities except the proper functioning of the organ itself (p. 3).
It is with the above concept in mind that I have embarked upon this inquiry journey to re-
discover the voice within -- Voice Sculpting in beginning singers.
As an area of inquiry, Voice Sculpting may be considered an aesthetic study
related to improving vocal sound in beginner singers and as a form of descriptive
research. Rainbow and Froehlich (1987) note that "aesthetics is generally defined as the
philosophical study of art" (Flew, 1984 cited in Rainbow and Froehlich, p. 130).
However, Flew continues, "in its Greek derivation and until the mid- l8th century,
aesthetics meant the study of sense experience" (p. 130). The study Voice Sculpting
employs a research methodology whereby there is a heightened awareness of the senses
as they broadly relate to the act of singing. Phelps, et. al. (1993) situate my research
method into a proper perspective when they write: "As a blend of descriptive and
47
philosophical methods aesthetic inquiry is much like the difference in music harmony
and music theory. Music theory utilizes subjective interpretation of the composer's
intention (hence the name "theory"), whereas harmony is quantifiable - it is either right
or wrong to say a B-flat triad is a V chord in the key of E-flat major" (p. 223). My
research into voice re-discovery includes both quantitative and qualitative measures for
cross verification.
The tools used in the descriptive aspect of the research include the development
of "Entering and Exiting Questionnaires" for study participants. Two music education
research books have been useful sources in this regard. Phelps, Ferrara, et. al. (1993)
remind the researcher that "the objectives of the Questionnaire are drawn from the
problem statement and the sub-problems" (p. 23 5) and, time and thought on the part of
the investigator will pay off in the construction of a valid questionnaire whereby the most
efficient means for data gathering will be possible. Similar practical advice is found in
Research in Education (McMillan and Schumacher, 1989) and I have attempted to
rigorously follow the principles of good inquiry. Babbie (1983) quoted by McMillan
gives a thorough list of guidelines for writing effective questions or statements (p. 225).
Also, most helpful, is the chapter on how to design a pre-post test, with clear directives
throughout. My study will use a pre-post-test measure to analyze the effectiveness of the
teaching approach relating to Voice Sculpting.
When considering the concept of sense experience, I am reminded of John
Dewey's (1934) Art as Experience. Among the many profound notions contained within
the text, the following is especially apropos as it relates to the act of expression:
48
The sculptor conceives his statue, not just in mental terms but in those of clay, marble or bronze. Whether a musician, painter, or architect works out his original emotional idea in terms of auditory or visual imagery or in the actual medium as he works is of relatively minor importance. For the imagery is of the objective medium undergoing development. The physical media may be ordered in imagination or in concrete material. In any case, the physical process develops imagination, while imagination is conceived in terms of concrete material. Only by progressive organization of "inner" and "outer" material in organic connection with each other can anything by produced that is not a learned document or an illustration of something familiar (p. 75).
The present research departs from conventional research methods by inviting
students to develop appropriate and meaningful tools to teach themselves to sing.
Therefore, I trust the students' testimonials of learning and their self-assessments in this
regard. In addition to the didactic vocal element, self-teaching tools include: cue cards,
the use ofjournals and an instructor-based vocal exercise tape. The student-designed cue
cards are a key element in Voice Sculpting in that technical concepts that have been
learned in the class are then translated into the individual singer's language (through
words, images, etc.). These individual concepts/languages are then practiced one at a
time. The layering of these self-initiated concepts, via cue cards, amounts to skill
building. Subsequent to teacher guidance, Voice Sculpting is a method whereby the
student learns to focus his/her singing. I will conclude with a thought of one of the
students in the course, "I was able to use the tools to sing in a more personally tailored
way ... it is a life process." (MIJPF 571.07, Student number 31, final paper, 2004).
In conclusion, the literature suggests that those concepts and techniques embraced
and espoused by the great singing masters of the Old Italian School still remain relevant
49
in voice education today. Those same singing techniques provide the theoretical
groundwork for teaching a healthy vocal production, whether in a solo or choral setting.
50
CHAPTER THREE: Research Methodology
Study Rationale
A review of the literature suggests that there is no concise, systematized
instructional vocal approach available to assist singing teachers and their students. The
present study is concerned with an evaluation of a systematic teacher-oriented but
learner- self-directed approach to teaching singing. Positive results will enable the
researcher to advance a user-friendly manual containing information presented in a series
of functional self-oriented voice lessons. As conceptualized, Voice Sculpting: Finding
the voice within is a singing teaching method I developed through many years of teaching
singing and synthesizing lessons learned from individual and group teaching experiences.
As such, my pedagogical goal is to field-test the method in order to eventually have a
method to assist individual singers in a classroom setting, and to offer a systematized
approach for a novice singer to teach him/herself to sing well.
Course
In the fall of 2003, with the approval of the University of Calgary, as well as the
Fine Arts Faculty and the Department of Music, Ethics Approval (see Appendix A), I
offered a course entitled Vocal Techniques (see Appendix A) scheduled for January,
winter term, of 2004. A course description along with a formal letter calling for
participants was distributed at the first class (see Appendix A). I was clear to ensure
everyone in the class understood the study and the study withdrawal process.
51
Course Participants
Twenty-six (26) volunteers consisting of university students from a variety of
academic departments were a core to the study. The study was carried out within the
context of a Department of Music course entitled Vocal Techniques. The emphasis of
the course is on the student learning to teach themselves the fundamentals of singing by
developing a unique, individual singing language. There were twenty female and six
male participants in a non-random, self-selected group. From past teaching experience,
having taught at the university for sixteen years, this is a typical gender distribution
within the area of class voice teaching. (see Figure 1)
Figure 1. Gender Distribution
The study's participants were within the age range of eighteen to twenty-five (18-25)
years with a mean of twenty (20) years. Of the group, six of the students were Music
Education majors, nine were Drama and Drama Education majors, and the remainder
were from the Religious Studies, Humanities, Science and Computer Science areas. This
52
distribution of the academic disciplines is also "typical" based on my past teaching
experience. Two participants were subsequently dropped from the study's data
collection process. One subject was tone deaf and the second subject had a medical
problem which affected vocalization. (see Figure 2)
Figure 2. Academic Discipline of Participants
Areas of Academic Study
Academic Discipline of Participants
Drama Majors
Music Majors
Other Disciplines
0 2 4 6 8 10
Number of Participants
12
Throughout the thirteen (13) week course vocal technique focused on certain aspects of
this proper vocal production -- including proper breathing, well-placed vowel sounds
within a specific singing range, pitch accuracy, balanced resonance and techniques for
heightened kinesthetic as well as cognitive awareness. I developed a pre-test and post-
test criteria-based evaluation using some pre-established measures (consistency of pitch
and vowel, extent of vocal range, balanced vocal resonance and tone quality) in order to
determine whether it was possible to improve any singer's technique, no matter what the
course entry level of competency. With this in mind, the focus of the test was to get a
base-line evaluation of basic vocal techniques in the following way: by singing a well
53
known song -- "Happy Birthday"; by vocalizing basic vowel sounds -- [i], [a], and [u];
and for more added vocal resonance and tone, by adding an element related to kinesthetic
awareness using words that conjure up the feeling of the yawn and sneeze before singing.
The pre-test and post-test conditions were identical for the vocal discrimination test, and
the results were statistically analyzed following ratings by outside objective/blind judges.
Technical Aspects and Equipment
The vocal pre- and post-tests were audio taped on a Sony Model TCM-37V
cassette recorder with a flat S-ECM-FO1 microphone. The tapes were first transferred to
a computer using a Sony Model TCM-200DV tape recorder; then an Imac G4 Cubase
was used to capture the sound utilizing the "I tunes programme," after that the sound was
transferred to compact discs. A Yamaha upright model piano was used to accompany the
participants singing in a sound-proofed room. Subjects' responses were then coded and
presented in random order for the judges' ratings.
Data Methodology
All study participants were pre-tested on measuring devices as previously
mentioned and an audio-taped vocal assessment was administered in the form of a vocal
discrimination test. For each segment of the discrimination test the instructions were
repeated twice with a vocal demonstration. The test consisted of the following elements:
an initial rendering of the song "Happy Birthday" (participants were given a copy of the
54
words to the song in case they could not remember them under pressure); next singing of
a series of vocal exercises. The first exercise consisted of two notes going up and down a
major second (1-2-1) singing on the word "sneeze." The second exercise to be sung was
a three note triad (1-3-5-3-1) singing on the word "yawn." The last exercise was the
singing of a five note descending scale (54321) on the word "you." The vocal range used
was approximately one and a half octaves, up and down.
The words "sneeze" and "yawn" that were sung in the first two exercises served
two purposes with regards to vocal technique. Both "sneeze" and "yawn" are words that,
when applied with their meanings, open the naso-pharynx area. This was one of the
areas of kinesthetic awareness relating to vocal resonance studied in class as part of the
Voice Sculpting method. Also, the vowels [i], [a], and [u] were among the five primary
vowels ([a], [e], [i], [0], [ii]) to be studied and practiced throughout the course. In the
course, students were encouraged to examine, feel and become aware, kinesthetically, of
the changes in tongue position that accompanied saying and singing the vowels. The
vocal discrimination condition was identical in the pre-test in formats and content.
Pre- and post- vocal measures included the song "Happy Birthday" (hbd); the
word "sneeze" (snz); the word "yawn" (ywn); the word "you;" and the repetition of
"Happy Birthday" (hbd2). "Happy Birthday" was the song selected because it isone that
all participants might know. The measures were then analyzed across the two test
conditions, pre/post using two tailed t-tests. The pre- and post-test vocal measures and
questionnaires were then analyzed. There was no control group as each participant
served as their own control.
55
Judge Adjudications
A panel of three judges was utilized to adjudicate student vocal growth. The
judges are professionals in the area of singing: two female judges and one male judge.
One of the female judges is an experienced voice teacher with a number of students who
have gone on to become professional singers. Her musical background is extensive and
both of her parents were well-respected voice teachers as well. She is a much sought
after adjudicator of voice, both at the provincial and national level. The other female
judge is a nationally recognized choral conductor and singer. Her choirs have won first
place nationally and internationally. They have toured extensively in Canada, the United
States of America, and Europe to great acclaim. The male judge is an internationally
known soloist in the field of opera, who now resides in Calgary. He continues to sing
professionally and shares his vast performing experience by coaching the advanced
singer as well as giving workshops and master classes to both high school students and
young professional singers and actors.
A formal letter was sent to each judge further describing the pre-test and post-test
requirements as well as a proposed timeline. The judges adjudication was required by
spring 2004.
The judges were not given any information about the instructional procedure or
the study, nor were they provided with any information regarding the course. The judges
were not informed of either the identity of the participants or the course elements.
Participant responses were presented to the judges in random order and mixed in terms of
pre- and post-test conditions. The rating package consisted of: an
introductory/explanatory letter (see Appendix B), an instruction sheet (see Appendix B),
56
criteria sheets with specific vocal terms (see Appendix B), rating sheets (see Appendix
B), and, a set of compact discs containing the study participants' responses. A final
thank-you letter with a small honorarium was presented to them on completion of the
ratings (see Appendix B).
A course Entering Questionnaire was administered in order to delineate specific
variables such as experience and background (see Appendix C). All participants were
also given a post-course assessment which consisted of an evaluation in the form of a
second questionnaire, Exiting Questionnaire (see Appendix D).
Student Questionnaires
Qualitative measures frame data generated from pre- and post-test questionnaires.
The Entering Questionnaire (see Appendix C) served the purpose of obtaining general
background information about each participant, such as previous vocal and musical
training as well as questions related to specific areas of singing that the student felt
needed most improvement. There were questions related to cognitive states and previous
experiences of solo singing. The Exiting Questionnaire (see Appendix D) included
questions such as whether each participant liked his/her voice better after the course, or if
he/she was more comfortable when singing in public, etc. Actual vocal improvement as
it relates to the functional aspect of singing, including breathing, better resonance and so
on, were questions repeated from the Entering Questionnaire.
57
Student Tool Kits/Journals
Practical methods used in individual practice sessions included putting together a
"tool kit" comprised of a personal journal, cue cards (blank 5x3 cards) and an exercise
tape. The practice of exercises learned in class was encouraged daily by means of
singing with a tape recording that had piano accompaniment of those exercises on it (see
Appendix B) This provided the singer with a degree of complete attention to the task at
hand (blank cards with individual words or image cues made up by the student combined
to take on the role of the "guide"). The average number of cards made by each student
was about six, cues included a meaningful word, picture, image or exercise (see
Appendix F). Students were encouraged to journal practice sessions and events that
dominated the learning process as a means of double reinforcement. Included in the
journal could be various queries, for example, "Why was my singing voice less than good
today?" "Which is the best vowel to sing on a particular high note?" and so on. Notes on
vocal hygiene, the singer's mental state relating to the way his/her voice "feels" and other
such ideas may be included in his/her journal. The above concepts comprise the method
that takes the complete picture and systematically divides it into do-able portions before
bringing all learned concepts together again. This is how we can develop our own
singing language through images, exercises and the all-important self-talk element of
teaching oneself to sing.
The student journals were examined by the instructor/researcher twice throughout
the term, and the completed, tool kits were checked when the course was over.
Depending upon the individual, entries varied from two pages in total to a completely
58
detailed account of daily practice sessions. The pre- and post- course questionnaires, the
entries made in the student journals, and comments made in the final papers completed
the data gathering aspect of the research. The above sources provided information and
insight inte.the.efficaeyof the methodology.use4 in Voice. Se-
Student Final Projects
The final project for MUPF 571.07 consisted of a paper focusing on "How I
Taught Myself to Sculpt My Voice." The purpose of the project was to analyze and track
the progress made by individual students as they began the process of learning to sing,
realizing that skill building is a life long endeavor. Methods and exercises used in class
were included as part of the dialogue in all of the papers. The personal interpretations of
building a unique singing language drawn from the methodology learned in class, and
exactly how that language was translated into an individual singing technique was central
to the Voice Sculpting process.
Teacher Journal and Observations
Along with the data gathered from student observations in the form of student
journals and final project papers in the form of an essay, another primary source of data
was that collected from the teacher's observations and consequent journal entries notated
throughout the semester. After each class a precise, written account of what took place
was recorded. Journal entries included reactions and comments of the students during
class as well as aural and visual analysis of changes in both individual and class vocal
techniques. Out of class questions and comments were also noted.
59
For the second part of the term students were required to give a "song
presentation." These were to be either in the form of solo or group singing. Alternately,,
if an individual was too shy to sing, a CD presentation was given. Any style of music
was acceptable. The proper singing technique learned in the lecture portion of the course
during the first six weeks, and the application of the vocal technique learned were the key
elements to be presented along with the singing.
Class Activities and Lectures
There were thirteen (13) weeks (the class meeting twice weekly) of group
instruction with each lesson lasting approximately sixty minutes. The six weeks that led
up to Reading Week were set up as formal lectures. The final six weeks included "song
presentations."
Throughout the entire semester, students were encouraged to laugh and have fun
with the singing process. In addition, the elimination of undue tenseness and inhibitions
that often accompany singing, particularly in an unfamiliar group setting, was key to the
Voice Sculpting process. The first singing, included in the test situation and in class, was
"Happy Birthday to Kwaq." The overall content of the course titled Vocal Techniques
emphasized the student learning to teach him/herself the fundamentals of singing by
developing a unique, individual singing language.
Thinking back on what would have worked for me as a student, I formulated
some basics. The following aspects are key elements: a) A teacher needs to be a good
role model with an easeful vocal production along with a well produced singing voice
(students start with imitation before forming their own vocal sound). b) Students can
60
form images to learn when they are able to know/feel that their singing is balanced.
Images and feelings can be transferred from one skill or previous experience to another.
In other words, an individual can shift expert capabilities to novice skill building in
another area, in this case, singing. An accomplishment in a sports activity such as
landing a ski jump or a sense of readiness and balance may be felt; in the area of
swimming, falling back and floating in the water produces a feeling of letting go of
undue muscular tenseness along with a feeling of balance and resistance to the water.
These feelings can be used and integrated into the act of singing. c) The teacher is a
guide and students need him/her to become dispensable not indispensable. Teaching the
self is key. This may be done through daily practice with the exercise tape, taping and
analyzing practice sessions, joumaling and using the cue card system. d) Too many
concepts at once becomes confusing so little bites are needed for the concepts to be
integrated and digested; for example, the relaxed throat in singing takes time to feel,
when combined with an image the relaxed or "open" throat can be practiced throughout
the day. e) Concentrated practice of each concept is needed over time to internalize
proper technique. Above all, students need to practice in several ten to fifteen (10-15)
minute periods throughout the day when their energy level and mental concentration is
highest. Planning what is to be accomplished and how that goal is to be accomplished
daily, weekly, and beyond is an important element of learning to sculpt one's own voice.
During the course, in order to better explain kinesthetic awareness I developed a
cartoon duck named Kwaq. Kwaq was presented to the class (using an overhead
projector) in six different poses: landing a ski jump; going over a roller coaster; opening
the curtains; floating; about to sneeze or yawn; and, ready to "guzzle" a rootbeer (see
61
Appendix G). I wanted each student to see if they could replicate the poses of Kwaq and
from there transfer the body poses to the singing state or act. These images were then
associated with any pertinent image each singer felt relevant to them as related to the
vocal concepts studied, be it the "state of readiness," the "relaxed throat," and so forth.
For example, the state of readiness demonstrated in the landing of a ski jump may also be
felt in a karate stance; the relaxed throat and heightened naso-pharynx area of the yawn
can also be felt before taking a drink of water, and so on. This exercise was the start of
developing one's own unique language for teaching oneself to sing.
The above elements brought me to a cue card system. As a result I settled on one
concept per cue card. The concept could be an image, word or exercise that has a
meaning or purpose for the student as it relates to the singing technique learned in class
(see Appendix F). At each practice session, the student was encouraged to set only one
card up for the first part of the practice session, change cards for another focus during the
next portion of the practice session, maybe after five minutes and so on. Each session
should only last ten to fifteen minutes, two such practice sessions a day to keep
concentration levels high in order to achieve optimal results on a daily basis. Eventually,
the student was to place two cue cards up at a time and keep adding as time goes by, but
to do each of the directions on the cards. This layering is a part of the concept to create
the sound of the moment in Voice Sculpting.
Patience with the method is required and skill building is progressive so with that
in mind, the handout sheets for the student's notebook or guide were given after the
lectures. This system not only allowed students to look slightly ahead, but also
encouraged them to look back and review (see Appendix if).
62
Instructor repetition prompted student self-talk. To just say "repeat" did not
work, the student needed to do it. It is important to keep the process going on and on in
the mind (24/7), This is only the beginning of learning to teach oneself to sing, the
process continues and develops until responses become automatic but not automated.
By breaking down "how to sing" into a progressive step process it is easier to
recognize what is possible as a positive end result. From my teaching experience, many
times a student will say that her singing is so much better when I am there to guide the
class. The cue card system takes the role of the teacher in her absence. Conversely, a
student may say that they sing so much better at home with nobody around. I then ask
them to make sure vocal production is balanced and effortless. As far as the actual
singing during the practice session, purposeful exercises must be added along with the
above directions found on their own individualized cue cards. Some such exercises
include: "kee-kay-kee-kay-kee," which produces gentle inside pull ups of the soft palate
using the "k" sound; "flaw-flaw-nee," which coordinates the tongue and jaw action; and
"ning-ee-ning-ee-ning-ee-ning-ee-ning-ee." which helps one to feel the nasal resonance.
Every class began with a review of previously learned vocal concepts (see
Appendix I). From there a new concept was introduced and explained. Questions were
encouraged and there was often a general discussion of singing and vocal technique for
about ten minutes. A trusting environment was provided and students became familiar
with each other and with me. We sang at the end of each class. To begin with there was
the singing of a simple folk tune and we advanced to more difficult songs as time went
on. Once the vocal exercises were established, a warm-up always preceded the song.
63
Towards the end of the semester some fun questions were added to make the response to
the vocal exercises more natural.
For example, I would ask the question, "Would you like some beer and sausage?"
"YAK" they would reply. This lightened the mood and made for better singing as well
as serving the purpose of preparing the throat for the sensation before the yawn, thus
opening the naso-pharynx area. To provide a sense of carefree well being, they would be
instructed to think of a lovely spring day or some such image. The breathing would
deepen and smiles would appear.
After the Reading Week-20 students were required to give a song presentation21 to
demonstrate how they were putting the vocal technique, already learned, into practice.
The choice was given to sing either a solo, duet or small group performance. The
accompaniment was often pre-recorded. For those not ready to sing in front of the class,
an alternative presentation format was acceptable whereby the student played a recording
of another singer(s) for the class. An aural analysis of the vocal technique presented by
the chosen performer was included as well. Before the students presented their song
each class began with the vocal warm-ups familiar to them and included on their take
home tape. The singing of exercises not only secured the vocal technique of Voice
Sculpting but also made them better prepared to sing in front of the class for their song
presentations. The tool kits were handed in for evaluation as part of the final course
assessment along with a final paper in the form of an essay relating to how the
participants taught him/herself to sing or "sculpt his/her own voice."
20 A break from classes, mid semester.
21 Each student presented a song by singing it either solo, as a duet or trio. CD presentations were also acceptable. Discussion of vocal technique learned and applied in the class was also an element.
64
Our final class was a party celebrating the joy of singing. Kwaq was present on
the overhead, guzzling his root beer and we did the same (along with pizza, ice cream,
candy and chips!). Students were eager to sing, both together as a group, and most
especially alone! Several singers presented songs that they had prepared for the
upcoming "Canadian Idol22" audition. The final class solo, rather wildly presented was,
"I will survive." Appropriately, this song ended the course and study, Voice Sculpting:
Finding the voice within.
Data Analysis
The judges ratings were correlated to assess consistency of the adjudications
between the three judges over the pre and post-test. The measures were then analyzed
across the two test conditions, pre/post using two tailed t-tests. The hypothesis relating to
the Voice Sculpting approach of improved singing was tested and analyzed using
qualitative and quantitative measures. The experimental hypothesis of this study is that
the Voice Sculpting method of teaching basic, functional vocal technique will produce
increased positive responses to a 5% level of significance. The null hypothesis is that
there will be no positive response change as a result of the Voice Sculpting method. The
findings from the above study are contained and analyzed in the next chapter.
22 An amateur vocal competition at the national level.
65
Qualitative Measures
The qualitative component consists of an Entering and Exiting Questionnaire
(see Appendices C and D); MUPF 571.07 Course journal entries; and final paper
assignments. Observations of the instructor/researcher as well as student comments from
the class rounded out the qualitative analysis. Data generated from the Entering
Questionnaire given before the course served the purpose of obtaining general
background information about each participant, such as previous vocal and musical
training as well as questions related to specific areas of singing that the student felt
needed most improvement. There were questions related to cognitive states and previous
experiences of solo singing. The Exiting Questionnaire included questions like whether
each participant liked his/her voice better post the course of if he/she was more
comfortable when singing in public, etc. Actual vocal improvement as it related to the
functional aspect of singing including breathing, better resonance and so on, were
questions repeated from the Entering Questionnaire.
Other forms of evaluation for effectiveness of the methodology included course
journal entries with comments from students relating to their individual progress of vocal
development within the group. As a final project, students in the course provided a
written analysis discussing the Voice Sculpting: Finding the voice within process that
they encountered as part of the thirteen (13) week course. How students were able to
turn concepts related to proper singing into their own self-directional singing language
through the use of their tool kits and routine singing practice was the primary focus of the
final paper. Those papers provided additional research data for my study.
66
Quantitative Measures
Controlled pre-and post-measures in the form of a song and vocal exercises were
the basis for the quantitative element of the research. The Pearson-r correlation
coefficient was used to evaluate the degree of relationship between the three judges.
Correlated t-tests were used with the pre- and post- conditions in order to account for the
repeated measures.
67
CHAPTER FOUR: Findings of the Study
Overview
Both quantitative and qualitative measures and analysis were employed to
determine the effectiveness of Voice Sculpting: Finding the voice within as a teaching
methodology for novice singers enrolled in a university voice course. An objective pre-
test and post-test condition in the form of singing an elementary song along with
performing a series of simple vocal exercises made up the quantitative measures for the
study. That is, vocal exercises were recorded before and after the course. Those
recordings were adjudicated by judges, based on established criteria for measuring vocal
improvement.
Instructor/researcher observations relating to class progress, as well as the
students' analyses of the methodology in the form ofjournals and final papers, provide
the qualitative data used in Voice Sculpting. These comments comprised one portion of
the qualitative research. The other element of qualitative inquiry consisted of an
"Entering Questionnaire" that was administered to ascertain the musical and singing
backgrounds of the participants in addition to evaluating areas of vocal production
requiring attention. The "Exiting Questionnaire" was an end of course evaluation where
students noted self-improvements in their singing.
The present chapter is arranged with the quantitative research findings first. The
results of the judges' ratings precede the Entering and Exiting Questionnaires along with
the other qualitative measures of the study which include instructor/researcher
68
observations as well as class experiences relating to the method of Voice Sculpting.
Quotes from the students' journals, final papers and class comments complete the
findings.
The judges chosen for this study are all professional musicians: Judge 1 is a
recognized voice teacher and adjudicator; Judge 2 is an internationally recogni7ed opera
singer; and Judge 3 is a well-known choral conductor.
Judges' Ratings
The process for the judges' ratings of student vocal growth involved using the
"Judges' Rating Sheet" which includes a rating scale, a list of vocal terminology used
along with two charts relating to voice quality (see Appendix B). The judges were
instructed to listen to a total of 52 participants, on five compac discs (numbers written on
each, pre- and post mixed). Rating sheets were included in the package and the judges
were asked to rate by circling their choice, on the rating sheets (see Appendix B).
The three judges' ratings were subjected to Pearson-?3 correlations on both the
pre-test and post-test variables to assess the degree of agreement between the them. The
ratings ofjudge 2 were found to be inconsistent and scattered in both the pre- and post-
test evaluations, with correlations varying from .129 to .841 with the other two judges
(Judge 1 and 3) (see Tables 1 and 2). It is possible that Judge 2 did not follow the rating
criteria consistently or he did not discriminate the vocal responses in a consistent
manner. The other two judges' (Judges 1 and 3) correlations were more consistent,
23 Pearson product-moment coefficient (represented by r), and the coefficient represents the degree of relationship between two variables.
69
ranging from .668 to .790 (see Tables 1 and 2). Consequently, the adjudication ofjudge
2 was dropped from the data base and the ratings from Judge 1 and Judge 3 were
collapsed for further analysis (see Table 3).
Table 1: Correlations for Judges' Pre-test Ratings
Correlation of Judge #1 with Judge #2
hbd snz n ou hbd2 total hbd .798 -
snz .399 ywn .299 you .536 hbd2 .456 total .566
Correlation of Judge #2 with Judge #3
hbd snz vwn you hbd2 total hbd .679 -
snz .447 ywn .462 you .551 hbd2 .523 total .572
Correlation of Judge #3 with Judge #1
hbd snz n ou hbd2 total hbd .838 snz .684 ywn .633 you .753 hbd2 .701 total .726
Key - hbd = the song "Happy Birthday", snz = the word sneeze; ywn = the word yawn
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Table 2: Correlations for Judges' Post-test Ratings
Post-test Correlation of Judge #1 with Judge #2
hbd snz ywn you hbd2 Total
hbd snz Ywn Cu hbd2 total .841
.507 .503
.352 .509
.622
Post-test Correlation of Judge #2 with Judge #3
hbd snz Ywn You hbd2 total hbd .680 snz .531 ywn .238 you .195 hbd2 .129 Total .404
Post-test Correlation of Judge #3 with Judge #1
hbd snz n you hbd2 total hbd .790 snz .668 ywn .758 you .723 hbd2 .775 total .794
Key: hbd = the song "Happy Birthday," snz = the word sneeze; ywn = the word yawn
The collapsed data from the two judges were then subjected to further analysis
using correlated, two-tailed t-te5t524(see Table 4). The first rendition of the variable
song, "Happy Birthday," was significantly different from pre-test to post-test indicating
that the students had improved over the course of the thirteen (13) week period.
24An inferential statistical procedure for determining the probability level of rejecting a null hypothesis.
71
Similarly, the exercise variables "sneeze" and "yawn" were also significantly different,
being performed better in the post-test evaluation.
Table 3: Means and Standard Deviations for Vocal Exercise Measures
Variable Condition
Pre Post
hbd 15.33 (sd 6.1) 18.77 (sd 9.1)
snz 42.75 (sd 10.4) 47.06 (sd 9.6)
ywn 41..33 (sd 9.7) 50.27 (sd 15.0)
YOU 43.67 (sd 18.8) 47.77 (sd 10.4)
hbd2 17.38 (sd 5.1) 18.83 (sd 4.7)
Total 158.65 (sd 39.3) 179.35 (sd 37.l)
Key: hbd = the song "Happy Birthday," snz = the word sneeze; ywn = the word yawn
Table 4: Two-tailed t-tests for Vocal Measures
Variable Degrees of t Significance level freedom (2-tailed)
Key: hbd = the song "Happy Birthday," snz = the word sneeze; ywn = the word yawn
The second "Happy Birthday" presentation and the construct "you" were non-significant
(see Table 4). The word "you" is a frequently used and stable vocal construct which
remains consistent across subjects over time and demonstrates little change. The lack of
change on the repeat and final presentation of the "Happy Birthday" variable was
insignificant. This could be a result of the "practice effect" over the total test measures.
72
Questionnaires
Results of the Entering Questionnaire (see Table 5) indicated the students'
background, attitudes, and concerns regarding singing. The participants were
predominantly from musical backgrounds: 33 percent came from a voice background
alone, 21 percent came from an instrumental background alone and 42 percent came
from both backgrounds. When queried about having listened to classical music while
growing up, 54 percent responded, "Yes;" 33 percent responded, "Sometimes;" and only
8 percent responded, "No." The question that related to image and the participant's
concept of a trained voice showed that 75 percent of the participants do not consider a
trained voice to sound "contrived." the majority of participants, 75 percent, were
comfortable when singing in a group. Singing in front of a group of peers was even more
comfortable as demonstrated by the 83 percent response rate. Ninety-two percent of the
group rated themselves as having significant tension and inhibitions surrounding solo
singing with worries about their vocal performance. Past negative singing experiences
were found in 71 percent of the students. A total of 50 percent of the participants sang in
choirs as children and 58 percent sang in choirs as adults. A thirty-eight percent of the
participants reported having studied voice on a one-to-one basis. All of the participants
were taking the course in order to improve their vocal technique and they also indicated
the desire to continue vocal development upon course completion.
73
Table 5: Percentage Responses to Entering Questionnaire MUPF 571.07
Total: n= 24 Female: = i; Male: =
1. Musical background? Voice: 33% Instrumental: 21% Both: 42% 2. Rate your singing? Good: 29% Average: 38% Poor: 25% 3. Comfortable singing in front of a group? Yes: 75% No: 25% 4. Comfortable singing in front of a group of peers? Yes: 83% No: 17% 5. Rate from 1-5 the following areas of vocal production that need most attention
improvement (most = 1; in between =3; least = 5).
Posture/Breathing Vocal Tone Diction Tension Release/Inhibitions/Confidence Interpretation
and/or
Number: 2.4 2.3 3.2 2.0 3.6
6, Worry about your performance when you sing? Yes 92% No: 8% 7. Had a negative singing experience? Yes 71% No: 29% 8. "Image" of a trained voice one that sounds contrived: Yes 8% No: 75% 9. Listen to classical music
growing up: Sometimes 33% Yes 54% No: 8%
l0a. Sing in a choir as a child: Yes 50% No: 50% lOb. Sing in a choir as an adult: Yes 58% No: 42% 11. Studied voice on a one to one basis? Yes 38% No: 62% 12. Taking this course to improve your vocal technique? Yes 100% No: 0% 13. Continue to sing and develop your vocal skill after the
course? Yes 100% No: 0%
Exiting Questionnaire (see Table 6) respondents reported singing more often
having completed the course at the 83 percent level versus prior to taking the course.
When asked if the participants were more or less "self-conscious" when singing before,
versus after the course, 67 percent responded "Less" and 17 percent for each of "In
Between" and "More." Ninety-six percent also reported liking their vocal production
more after taking the course. As far as being more focused when singing in public,
student responses were also rated at 96 percent. In addition, all participants reported
significant improvements in: breathing, tone production, and reduced tension, each with
74
92 percent improvement. Lower ratings for improved diction, at 79 percent, were
recorded. The positive outcome of the class was noted in several categories: high
positive experience ratings, 100 percent; planning to utilize class techniques also at 100
percent; and attending a follow-up course, 100 percent.
Table 6: Percentage Responses to Exiting Questionnaire MUPF 571.07
Total: n24 Female: = 18 Male: =
1. Sing more often than before taking the course? Yes 83% No: 17% 2. Self-conscious of your vocal
production before beginning this course?
Less 67% In between: 17% More 17%
3. Like your vocal production more? Yes 96% No: 4% 4. More focused singing in public? Yes 96% No: 4% 5. Vocal production improved in the following areas:
6. Class a positive experience for you? Yes 100% No: 0% 7. Plan to continue to develop your voice, given the
techniques learned in this course. Yes 100% No: 0%
8. Attend a follow-up course such as this one. Yes 100% No: 0%
Student Tool Kits/Journals
A student "tool kit" was put together by each student. It consisted of a vocal
exercise tape; self-made cue cards and ajournal. The exercise tape provided piano
accompaniment of the exercises performed in class (see Appendix B) and daily practice
of the exercises as a form of vocal skill building was encouraged. Development of
proper breathing techniques, range extension, vocal agility and sustaining of the vocal
tone was included. Heightened sensations of the naso pharynx area through singing with
75
a yawn and sneeze sensation was also practiced. Cue cards were devised by the
individual students as a means of teaching oneself to concentrate on a particular aspect of
the technique. The journal entries kept track of both the vocal process and vocal progress
of the students.
Following are quotes taken from the students' journals and final papers as they
relate to the various elements of the Voice Sculpting technique. "I really liked the
repeated concepts . . . to layer and to build. . . self-talk to sculpt my own voice." (MUPF
571.07, Student number 96, Final paper, 2004); "I layered three cards at once today, it
helps me to sing. . . I could hit an A-flat, prior to this class I was afraid of E's!" (MUPF
571.07, Student number 23, Journal Entry, 2004); "This has been an inward journey of
discovery. . . music from different cultures -- how much it differs, yet bow much it
remains the same. . ." (MUPF 571.07, Student number 99, Final Paper, 2004);"...
diving image. . . what good posture felt like; take a "snap shot" of the sensation. . ."
(MIJPF 571.07, Student number 8, Final Paper, 2004); "By the end of this course I added
a whole octave to my upper singing range." MUPF 571.07, Student number20, Final
Paper, 2004); "I go home every day feeling like singing is a need." (MUPF 571.07,
Student number 16, Final Paper, 2004); and, "I love to sing now, no matter where I am or
whomever I'm with. . . Stand proudly and sing loudly." (MUPF 571.07, Student number
68, Final Paper, 2004).
The Class Experience
After having taught Vocal Techniques for three years at the university classroom
level, it was apparent that there is a need for an innovative, expedient and creative
76
approach to both teaching and learning proper vocal technique. This teaching experience
served as a pilot project for the current research study. The handbook that I used in the
previous years of teaching vocal technique courses was one of the few available at the
time. However, the vocal technique prescribed was insufficient for my needs as an
instructor. Simply, explanations were complicated for the novice student. Therefore, the
handbook was used solely for the purpose of the repertoire contained therein.
Voice Sculpting: Finding the voice within is an approach that evolved out of the
realization that, especially given the limited course content time, a simple and concise
method for teaching singing in a group situation is needed. At the first class meeting the
philosophy of Voice Sculpting is presented: anyone (with the exception of those
individuals with a physical handicap that directly affects singing) given the proper tools
and guidance to teach oneself how to better produce a properly balanced natural or
"nature-all" singing voice, can do so.
Pre-course Evaluation
The formulation of the Entering Questionnaire for the study was based upon
previous years of teaching experience with both group and solo singers. Students have
been from a number of varied cultural, sociological and academic backgrounds.
As previously mentioned, perhaps the most dominant theme given as a reason by
the students for their enrolment in the Vocal Techniques Course was to break through the
barrier of fear as it relates to singing, particularly solo in a public setting. When asked if
they worried about singing in public, students responded 92 percent with, "Yes." Other
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questions such as if the student would be comfortable singing in front of a group
produced similar results: "No," at 73 percent. And, again, "No," to feeling comfortable
singing in front of a group of peers at 81 percent. Past negative experiences as they relate
to singing were scored at 73 percent. Students were assured that they would never be
singled out to sing solo in front of the class.
Typical quotes, specifically relating to negative past singing experiences are as
follows:
one day (when I was still quite young) my big sister told me that I sucked at singing ... from that moment on I stopped singing ... I hid from my voice and convinced myself I hated singing. (MUPF 571.07, Student number 8, Final Paper, 2004).
Another student commented,
My earliest memory is not one of singing freely as a child, but of my parents telling me I couldn't sing. (MUPF 571.07, Student number 93, Final Paper, 2004).
With the above knowledge in hand, it further confirmed the fact that an
encouraging, trusting environment must be provided for vocal development to take place.
As a instructor, acceptance of each individual, at whatever level they may be at, and from
whatever background (both culturally and musically speaking) must be foremost in mind.
The class must show equal respect for their fellow students. This aspect of comfort in
the learning environment was evidenced by remarks made by one of the students:
At the beginning of the term I always felt more comfortable standing behind the group so no one could see me, and hoping no one would hear me. As the term progressed I was still apprehensive of standing up tall and singing, but I realized that I shouldn't have to apologize for myself, that everyone has the right
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to sing and who are they to say whether I am good or not? This realization has made the largest impact on my singing. (MUPF 571.07, Student number 9, Final Paper, 2004)
Furthermore, no auditors or observers were allowed in class, only active participants.
The introduction of Kwaq, the cartoon duck, proved not only to assist with
students' kinesthetic awareness of various techniques but also loosened them up so that
they could rid themselves of undue tenseness and inhibitions to have some fun. Kwaq
was presented in six different poses using an overhead projector (see Appendix ci). Our
first singing was at the introduction of Kwaq in his ski pose, the song was "Happy
Birthday." Name tags with Kwaq on them were passed out and each student coloured
his/her respective identification card to be worn at the first few classes. This further
promoted a sense of belonging in the class.
Other focused activities used to bring about kinesthetic awareness were also
employed. Instructions of how to transfer such feelings to singing preceded two
exercises. Firstly, the blowing of bubbles, as well as blowing a toy windmill, to feel the
proper breathing muscles used in singing. Secondly, eating a chocolate and slowly
saying the word "chocolate" as a means of feeling what the articulators are doing. And,
thirdly, dissolving a cherry menthol throat lozenge upon going outside to feel the naso
pharynx area, essential as an area of awareness as it relates to heightened resonance in
good singing.
We sang at each class throughout the entire semester. This vocalization included,
to begin with, vocal warm-up exercises and simple folk songs. Eventually, once the
repertoire expanded and with the introduction of the song presentations, a much more
lively, enthusiastic and animated singing time took place (of course, the technique
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building process along with becoming more relaxed in the environment also helped).
Students especially enjoyed the innovative exercises that included such questions as
"would you like some beer and sausage?" An energetic "Yah!" was the response.
Mid-course Direction
After six weeks of lectures, Reading Week (four days in mid-February, 2004) was
soon upon us and with the groundwork for vocal technique set, students were given
exercise tapes with instructions and asked to make up their own tool kits as a way of
developing their own singing language and thus teaching themselves to sing. A
combination of self-made cue cards, a journal and actual vocalization with the exercise
tape were the foundation of the Voice Sculpting approach. Concentrated fifteen minute
intervals were encouraged for optimum vocal success. Examples of the effectiveness of
students creating their own language include:
Initially, I didn't think that putting a word on a piece of paper would help me be a better singer, but I tried it anyway. Surprisingly enough, it really worked for me. Just a few simple words and pictures help me to focus. (MIJPF 571.07, Student number 68, Final Paper, 2004).
Another student commented,
A performer must feel balanced and buoyant just like he/she can go anywhere at the moment. At this time, the imagining can help to create a mentally kinesthetic awareness for a chanter. The image that I suggest is a Buddhist monk standing on a cloud ...
(MUPF 571.07, Student number 79, Final Paper, 2004).
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The preceding image was drawn on a card by the student to assist in conjuring up the
corresponding feeling. Continual repetition and the layering of concepts was a key
element of the Voice Sculpting process.
The, once dreaded, "Song Presentation" (in the form of solos, duets, trios or CDs)
portion of the course saw the students blossom, showing what effect the self-teaching
(especially self-talk) had upon them. In the class presentations, there was a wide range of
both styles and music. The variety of music included Pop and rock music including the
Rolling Stones, jazz and musical theatre, a Schutz motet as well as music sung in Latin,
Spanish, Japanese, Hebrew and French. Persian songs were presented as well as a most
poignant moment with the Buddhist chanting and Chinese friendship song sung by two
monks in the class. Prank Sinatra made an appearance and those still too shy played CDs
while discussing vocal techniques. At each presentation, students were also required to
speak about ways in which they applied Voice Sculpting as they taught themselves how
to become better singers.. Many times student participation was requested and favourite
songs were repeated time and time again. Dona Nobis Pacem (see Appendix 3) was one
such composition.
Course Finale
The Exiting Questionnaire demonstrated the success of the Voice Sculpting
approach. Ninety-six percent of the students said that they were more focused when
singing in public; 100 percent thought that the class was a positive experience and 96
percent liked their vocal production more than when they started the course.
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As a final word,
I am so glad that I took the opportunity to challenge myself and felt so empowered and relieved after my song presentation that once I left the class I was near to tears. I certainlyused some of the singing language I have developed during the class and most particularly the language of self-belief. The journey through this class has been a personal triumph for me
(MUPF 571.07, Student number 93, Final Paper, 2004).
Another student,
'I feel that my out breath is longer and more steady than before, I think that when I go back to Taiwan and chant in front of other monks, they will be surprised. Then, I can share the vocal technique I learned in the class with them.
(MUPF 571.07, Student number 79, Final Paper, 2004).
Indeed, there is nothing new under the sun and we can truly say that east meets west,
meets east...
Teacher Observations
A concise journal of teacher/researcher observations was kept following
each MUPF 571.01 class. The lectures and vocal exercises as well as the song repertoire
was recorded along with the queries and discussions of the class participants. Of
particular interest was the analysis of both individual and class progress with each class.
Changes in physical posture and the state of readiness to sing were first noticed, less
physical tenseness in the face and body could also be seen. As the semester progressed,
the vocal sound went from light and inhibited to a noticeable increase in volume and
tone -- this could be attributed to added confidence and trust as individuals began to
develop their own skill levels as their mind and body responded to the self-directives
given. The process of learning to sing culminated in the "Song Presentation" portion of
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the vocal techniques course. Students gave explanations on how they translated the
lectures, or vocal technique groundwork of the first six weeks, into a language that they
found gave them positive vocal results. A further testimony of how they progressed
vocally is found in the students' journals and statements made in the final project of
"How I Taught Myself to Sculpt My Voice."
Further exploration and examination of the results will follow and be discussed in
the next chapter. Emphasis will be on the significant results in relation to the course
presentation as well as consideration for practical application of the Voice Sculpting
methodology in the classroom of the future.
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CHAPTER FIVE: Classroom to Classroom
There is one recurrent theme throughout my journey as student, teacher and
educator/researcher - making music in the classroom setting. All of these experiences,
from the elementary schools to university classrooms, have affected the singing
methodology found in Voice Sculpting: Finding the voice within. That is my dream of
the vocal approach to music in classrooms of the future.
A gfl for me
I have been anticipating this day, August 9, 2005, for nearly one year. The feeling
inside is exactly like a child waking up on Christmas morning. Two o'clock this
afternoon cannot come soon enough. Walking into the theatre I find it difficult to
contain my excitement. There she is! Elegant, poised, and right before my eyes. Awe-
struck I watch her every move, listen to the sound of her voice and take in her every
word. This vocal legend is none other than the world famous soprano, Buy Ameling!
(see Appendix K).
Because Elly Ameling has been a part of my singing life for so many years I feel
determined to get her autograph. The question is how? When will the right moment be?
Will there be a right moment? These questions keep running through my mind.
Following the third day Master Class, urged on by my friends, I gather the
courage: "Ms. Ameling, you are my favourite art song singer and have been since I was
fourteen years old. Would you honour me with your autograph?" (I'm so embarrassed!)
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Amused and gracious, she signed a copy of my very old sheet music, a song I love by
Franz Schubert, entitled "An die Musik" or To Music. I did it!
To hear how Dr. Ameling brings the music of the art song to life is fascinating. I
take copious notes. Sometimes she sings to demonstrate: I am enraptured. Eight singers
from across Canada were chosen to participate in the two-week Master Class series, a
part of the Mountain View International Festival of Song and Chamber Music from July
31 to August 14, 2005. One of my former singing students is taking part in this
experience and it is rewarding for me to know that, technically speaking, my student and
this master teacher speak the same language. For example: the importance of the image
before the vocal tone, and a feeling of doing "nothing" while letting the sound happen.
My method is confirmed with knowing that I am passing on the vocal tradition of a well
grounded vocal technique handed down from singer to singer, from generation to
generation, from classroom to classroom.
Recapitulation and Discussion
Based upon the research findings, analysis of Voice Sculpting: Finding the voice
within show an effective individual voice method approach to group learning. The key
finding is that within a group teaching environment, individuals improved their
vocalization and their confidence. The study shows positive results qualitatively and
quantitatively in relation to the research question, again, which is: "Does the vocal
method of Voice Sculpting improve a person's singing?" The study was comprised of
three aspects: the instructor/researcher's observations and findings within teaching the
course; the participants' evaluations in both the Entering/Exiting Questionnaires as well
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as in their Journal Entries and responses in their final papers; plus the results presented in
the research findings in the pre- and post-tests. What follows is a further discussion of
the findings and an attempt to frame future applications and implications in the field of
group and individual vocal education with respect to the Voice Sculpting method.
Overall the results indicate that a thirteen (13) week Voice Sculpting programme
designed for group vocal training made a difference in the quality of learners'
experiences with their voices. Specifically, measures relating to kinesthetic awareness,
as in "sneeze" and "yawn," as well as the first "Happy Birthday," demonstrated
significant change over time when Voice Sculpting procedures were used. However,
there was a practice effect in the second song presentation of "Happy Birthday" from pre-
to post-test resulting in no significant difference. And, the word "you" had no change
from pre- to post-test most likely due to the commonality of this vowel in everyday
language.
Moreover, the above results need to be viewed within the course Entering and
Exiting Questionnaires which were answered by all respondents. The majority of the
students were from musical backgrounds: 33 percent in the area of "voice;" 21 percent
"instrumental;" and 42 percent "both." I later discovered that students who had only
dabbled on an instrument included themselves in the instrumental group as there was too
little criteria for rating these areas. Students rated their singing ability at 38 percent
being average and 25 percent as poor. Looking at the responses, it is interesting to note
that in a number of cases singers in the test situation -- often those who have greater skill
and ability, tend to be more self-critical and evaluate themselves than those who have
less singing experience. Voice Sculpting has assisted those highly self-critical students
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to be more objective and less subjective in their awareness of how to best access
themselves vocally. By understanding the process of skill building and knowing the
reasons that specific vocal techniques are used in Voice Sculpting students are then better
able to enjoy the experience of creating the "sound of the moment."
Regarding private one-to-one voice instruction, it was noted in the journal
responses that those who had even minimal voice lessons, such as several or even only
one, answered "Yes" at 38 percent. Perhaps the question should have been more
specific. For instance, perhaps the question needed to ask about the number of
months/years of voice lessons a person received. Two other questions in the
Questionnaires required more clarification. In the Entering Questionnaire one of the
questions relates to "image of a contrived voice." A number of students asked me what I
meant by the word "contrived." They understood better when I explained the term as
meaning a "phony or fake sound." Throughout the semester, after having conversations
with several participants, I realized that those students who responded, "More,"
interpreted self-conscious to be more conscious of themselves, kinesthetically speaking,
as they related to the vocal technique taught in the course rather than "shy or inhibited"
as was intended by the question. This was particularly evident with four students whose
first language was not English.
Although students reported being comfortable singing in a group, confidence
levels and relaxation did not reflect this claim, but tonal production improved as the
semester progressed. Also, students noted in their journals and final papers how vocal
improvement went hand in hand with the added confidence of knowing what is going to
come out when singing. The solo singing that took place in the second part of the course
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confirmed that the techniques learned in the Voice Sculpting method were effective. The
Exiting Questionnaire indicated that 96 percent of the respondents were more pleased
with their voices than when the course began and 96 percent reported being more focused
when singing in public. When interpreting the results regarding if the student sang more
often after taking the course, 83 percent responded "Yes," and 17 percent "No." Those
who responded "No," are the music education majors in the class, and they sing a fair
amount every day, therefore, whether or not they sang more often after taking the class,
was a less straight forward question -- music students practice singing in choir,
musicianship classes, theory classes and so on. Regarding the question of whether or not
participants would be interested in attending a follow-up course such as the present
course, those who responded, "No," included one student who requested private lessons
to continue the process and the other "No" respondent was leaving the city.
When examining the second Exiting Questionnaire results, the area that showed
least improvement is diction. Therefore, in future courses I will place greater emphasis
on articulation/enunciation as they relate to "diction" Other pertinent questions that
should be added to future studies, with respect to the qualitative research in the Exiting
Questionnaire, include the effectiveness of the cartoon character Kwaq the duck.
Particularly referring to the area of transference from vocal concepts to kinesthetic
awareness, and what other influences this image may have had. The question of what
more could be included in such a course to assist students as they learn to sing should be
added as well as which concepts helped them most. Knowing the amount that each
individual practiced, both songs and exercises, or time spent injournaling on a
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daily/weekly basis would also be valuable information when analyzing individual vocal
improvement in the participants.
The introduction of Kwaq, the cartoon duck, served two purposes. First, the
students laughed and were visibly put at ease. My reason to have this image on the
overhead projector was to demonstrate the concept of being able to see and transfer
various forms of kinesthetic awareness already experienced and practiced in other areas
of life to the singing experience. The visual cue of looking at the screen was a helpful
device to distract the new singers from themselves and others in the class. When we sang
our first "Happy Birthday" to Kwaq they were able to focus on the image and future
presentations of Kwaq in different poses also served that multiple purpose. In retrospect,
I wish that I had asked the students, in the Exiting Questionnaire, what purpose Kwaq
served for them in the singing process, even though some students commented in their
journals that the image of Kwaq assisted them in singing better.
The presentation on "Vocal Hygiene" was one that was apparently very effective
for the class. Many individuals commented in both their journal entries and final papers
that becoming aware of such things as constant hydration and eliminating vocal strain
through proper speech, vocal warm-ups, and so on, made a huge difference to their vocal
production. Certain students in the class used their speaking and singing voices a great
deal, particularly several who were in a rock group, a musical theatre instructor, and
several actors.
Emphasizing proper vocal habits even convinced one student to quit cigarette
smoking and the graphic photographs of unhealthy vocal folds reinforced her decision.
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Her journal, handed in at the end of the course, confirmed that the decision was
maintained.
The biggest step I made this week is quitting smoking. I quit yesterday and I'm ready to face the battle. I want a better voice. I want to stop coughing and grunting. I want my vocal passages to be clear and not gross like those pictures we were shown in class. Today is a new day. For the first while it may be tough, but I'm willing to give it my all.
(MUPF 571.07, Student number 52, Journal Entry, 2004)
I taught "Vocal Techniques" for three years previous to the present course. The
class time for the entire 13 weeks was spent working on specific vocal exercises and
songs. In the Voice Sculpting course, the creativity shown by the students with the six
weeks of "Song Presentations" both impressed and surprised me. Demonstrating through
both the spoken word and song, student singers not only learned through their own
experience of performing but, in a number of ways, from the other students as well. This
applied approach to learning singing, with such variety in vocal styles and languages has
been a very effective pedagogical tool for learning. Of particular note, I witnessed first
hand the acceptance and tolerance for differences in taste, and realized even more why
music and singing have the ability to break through "language" and cultural barriers.
Indeed, it was gratifying to observe the metamorphoses of the students in class.
They were encouraged to scatter themselves within the classroom for the singing portion
of the lectures. In this way they were able to begin to feel secure even when singing
alone. Movements such as letting the arm drop as the scale ascended, or either flopping
over like a rag doll or shaking oneself out (as a means of getting rid of tension)
eventually were performed totally without inhibition. This evolving trusting environment
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was referred to by students in both their journals and final project papers. More
importantly, it was a feeling in our everyday class experience that it was a safe place to
sing.
The choice of repertoire for the course was initially several folksongs chosen for
their musical simplicity and the fact that they do not have a copyright. Included was one
of my own childhood favourites, "There stands a little man" (a translated German
folksong). Had I imagined my own nineteen year old son singing such a song I surely
would have changed it. I realized my mistake when some of the male students
commented that they were very tired of that little man! Once the song presentations
began the class participation was lively and spirited. I realized, then, the importance of
up-dated repertoire. I also discovered that spicing up the vocal exercises with interesting
and/or funny questions and answers helped to energize a sometimes very tired five
o'clock afternoon class!
Although the results have been significant and positive from an individual and
class perspective, I feel that thirteen (13) weeks is a rather short time period for full vocal
skill development. On the other hand, since this method is simply beginning the process
of vocal self-awareness and of how to sing and teach oneself to sing, the approach can be
effective even on an individual/self taught basis. By studying the journals, cue cards and
reading the final papers of "howl taught myself to sing or voice sculpt" I had an idea of
how much each student practiced the actual singing and how much time was devoted to
the process of cognitive development. Because the course involved a group approach,
improvement was assessed as choral or class sound rather than on an individual basis.
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Specific concepts were definitely effective according to the students' written and
verbal responses. Some examples are: pulling a rope for awareness of resistance in the
breathing area (one memorable class was cited by a number of students recalling the
distinct change in sound from a weak to much more robust vocal sound once the above
image was practiced); using the hand motion of going down when vocally ascending; and
surprising to me was applying the "ta-cia, I'm here," stance which many students used
effectively to get ready to sing. Other exercises that produced positive vocal responses
include: pre-singing body warm ups such as head rolls and rag-doll "flop-overs" to
release undue muscular tenseness; feeling what it is like to take a drink from an
imaginary glass of water to release possible tongue, jaw and throat tension; reviewing
and practicing their checklist to prepare for the "state of readiness to sing;" and,
conjuring up a facial expression of pleasant surprise, a gentle smile and a feeling of
"readiness," similar to springing forward or a sense of "going somewhere" (among
others). The transference of kinesthetic awareness, inherent in the exercises above, or
within a routine vocal exercise, is one of the key elements in the Voice Sculpting
approach. If a student is at a stage above the novice level, particularly at the intermediate
or expert level, and involved in another area of physical activity such as swimming or
skiing, it is easier to transfer images. For example, the transferring of a state of readiness
or balance used in skiing, to the body/mind image to the preparation of singing. In this
way it could be said that the vocal student has been practicing proper singing habits in
other venues. Cognitive and physical exercises are then transferred to the singing of
songs.
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At times, in the first six weeks, (during the lecture portion of the course), students
in the class became impatient to "just sing," I needed to, literally, stave off the
impatience and complete the groundwork of teaching vocal technique. Such background
would serve as a basis for getting them started on their own journey of Voice Sculpting:
Finding the voice within. However, I was pleased when, on several occasions after class
in the second term, some of the most impatient students reported realizing, in retrospect,
the importance of having that technical vocal foundation.
One of the greatest joys for me as the teacher was to see the students become less
dependent upon me and more confident and reliable upon teaching themselves as they
took the skills and moved forward with their new-found singing capabilities. The self-
assuredness and security shown by the students as the course progressed was most
rewarding. In the final few weeks of singing, the students themselves began requesting
various songs to sing and re-sing, they even requested vocal warm-ups with favourite
exercises which did not occur during the initial phases of the course.
"Since singing is so good a thing I wish all men would learne to sing."
(Taken from the forward in the book, Psalms, Sonnets, and Songs ofSadness andPierie, by William Byrd (1543-1623).)
Voice Sculpting: Finding the voice within is a unique approach designed to invite
individuals, even in a group context, to learn to sing by building skills that promote a
healthy vocal production. The purpose of the method is to teach singing in a logical and
sequential presentation similar to the way instrumentalists focus on building their skill-
set on any given instrument. Hours of practice are dedicated to becoming familiar with
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the instrument through the repeated practicing of a number of skill-building exercises.
Vocalists need to do the same, and in so doing build their mind/body association as it
relates to improved singing. There are a number of approaches to teaching music in the
schools, including the Kodaly, Orif and Daicroze methods. When the Voice Sculpting
method is eventually used in the school system, the Voice Sculpting approach should be
taught separately prior to the inclusion of the teacher's chosen system for the teaching of
musical skills. The power of Voice Sculpting is intended for teaching individuals in a
group setting.
As such, the first teacher manual that I plan to develop based on this study's
results will be for university music education majors and it will emphasize that: "Anyone
can sing better." Voice Sculpting: Finding the voice within enables every singer to
reach his/her own level of competency in the fundamentals or basics of singing. A Voice
Sculpting teacher must point out that with the learning of any new activity or skill takes
time, patience, focus, and concentration. A Voice Sculpting teacher must emphasize that
learning to sing, even through a self-sustaining teaching/learning process is
developmental and progressive. The class enables each student to acquire basic skills at
an accelerated pace, in a supportive atmosphere, and will provide positive feedback.
Within a non-judgmental environment, and over a period of several weeks or
months, the music educator will teach his/her students the fundamentals of proper
singing technique including posture/state of readiness, breathing, vocal resonance,
articulation and so forth. Images and words will be used to further the students
understanding of what it is to sing. For instance, the desirable relaxed or open throat
position used in singing may be acquired with assistance of the image and associated
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feelings of taking a sip of water from a glass, or before biting into an apple. Substitutions
of both the individual student's image/word language will be encouraged, as well as
some that the entire class will utilize. I am constantly amazed at the new images
presented and how effective they are in furthering my own concept of Voice Sculpting..
As well, in the manual I will insist that the skill level of the teacher should be
adequate for proper demonstration of "how" one should sing in a balanced, "nature-all"
state. Every class must include meaningful, focused exercises that contain a known
purpose, activating the mind and body for singing. This element of basic vocal technique
will be reinforced with student teachers as it is the only way one can truly use the phrase
vocal "warm-ups." The visual aid of the cartoon character Kwaq, once explained to the
teachers, is useful in demonstrating kinesthetic awareness of a number of concepts: the
state of readiness for singing-- landing a ski jump; letting go of undue tenseness -- going
over the roller coaster with arms raised; and, feeling a sense of balance and resistance --
floating in the water while swimming. The image of Kwaq put the students at ease as
they enjoyed an element of fun associated with the cartoon character. The image of
Kwaq, when shown to the students, also distracted them from the formation of vocal
inhibitions while letting students focus on the image.
After the vocal fundamentals are taught to the class, students will be encouraged,
again invited to do so within the manual, to take responsibility and ownership over
teaching themselves to sing. A heightened awareness, not just of vocalization itself, but
the mind/body connection, including proper vocal hygiene habits, in order to prepare for
the actual activity, will be encouraged. Examples will be shown of how to keep a journal
of singing events, be they from in-class experiences or while practicing. Examples will
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be provided to show how to make cue cards with individual meaningful
images/words/exercises newly developed as an extension of those mentioned and learned
in class, or, the creating of one's own "singing language of awareness." Dedicated
practice will be required with a recorded CD provided which contains examples of vocal
exercises and basic set songs. Each exercise will have an objective and will have been
tried, performed and repeated numerous times in class. A computer CD with direct vocal
feedback for both the teacher and student will be included.
The manual will contain routines such as reviewing concepts from the past class
and constant encouragement to go through the vocal "checklist." This checklist would
include: (1) ridding self of undue tenseness, (2) clearing the mind, (3) gently smiling, (4)
relaxing throat and neck muscles, (5) placing weight on the balls of the feet in a state of
readiness, (6) holding the rib-cage up in a comfortable position, (7) beginning breathing
as though smelling a beautiful flower, and so forth. There will be images associated with
each of the above concepts including those mentioned in the previous discussion relating
to the cartoon character Kwaq. Teachers must show, by attitude, that they are ready to
sing along with the class. Students will imitate the demeanour and behaviour of the
teacher both physically and vocally. A feeling of well being must accompany good
singing, and especially teaching/learning to sing. Teacher training at the university level
would include the alternating of student teachers instructing the class. From there, the
students would take the method into the schools to practice teach the concepts learned.
The goal of the researcher/teacher is to ascertain whether the Voice Sculpting
methodology assists students of varying age groups to sing better.
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Once there is a common "vocal language" for the class, it should only take a
conditioned hand motion while the singers are performing for the physical
connection/vocal image to take place kinesthetically. Examples are: a motion of the arm
going down as the students ascend the scale; a pulling of the rope motion showing more
resistance or breath "support" is needed; a gentle smile of anticipation; the unhinged jaw,
and others. Another device would be to keep various Kwaq images before the students as
constant reminders of proper vocal technique. For example, a relaxed throat is
imperative for good singing and before taking a sip of a beverage the throat relaxes in
order to swallow. When students see the image of Kwaq drinking his favourite drink a
similar response of a loose throat may be transferred to the throat of the student
imagining doing the same. The image of Kwaq about to sneeze could also relax the
throat A word may be used with the overhead, and images as well as words could be
changed as gauged by the teacher on the perceived (or real!) progress of the class. The
manual will also feature strategies about how to detect possible vocal problems by
examining and taking note of undue tenseness in their students. Some indications of
tension are a stiff body, shoulders raised, tight lips, locked knees, or a grimace. "Nature-
all" singing works with, not against, nature.
My eventual goal is to animate the cartoon character of Kwaq as another means
of making learning to sing accessible to younger students living in an age of visual
effects. Students enjoy and respond to a cartoon character. The fundamentals of singing
would be demonstrated by Kwaq as would possible features relating to singing dealing
with physiology, anatomy, etc. Also, such concepts as using your "inside and outside
eyeballs" as well as how singers feel sounds such as the nasal [i] or [u], may be amusing
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when performed in images and, therefore have better retention. Kwaq would be an
excellent way of teaching proper vocal hygiene as well. Hygiene is an important aspect
of being a singer and cannot be overlooked. Kwaq's messages are simple -- sip water
throughout the day, don't yell, stay out of smoky places, etc.
Format of a proposed Student Teacher Manual
The manual will be designed, initially, with the university music education
student teacher in mind. I imagine two parts to the course reflected in the manual, and
they are: Part I: Beginning the process of teaching yourself to sing, and Part U:
Teaching your students to sing. Delving deeper into a possible layout of the manual, I
feel vocal concepts would be given one at a time with adequate blank page space for
journaling. Students would be encouraged not to read the manual in advance, rather, the
timing and absorption of concepts are key factors required for positive results with this
method and the process should be guided by the teacher. There will be a chart at the end
of the manual for suggested corresponding images, exercises, and words from which to
choose as the singer develops his/her own singing language. A set of cue cards to match
an emergent concept chart will also be provided as an example of how to construct a
"tool kit" within the sculpting process. The manual will be formatted in such away as to
see, page by page, what is required. Highlighted boxes with words such as discover or
explore may also be part of the instructional lay-out of each page. However, the spacing
will be such that a simple, logical and progressive approach, versus a mind overpowering
one, will be a major consideration for the manual. The CD containing vocal exercises
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and so forth, will be included at the back of the manual and as part of the tool kit as
well.
Voice Sculpting: Finding the voice within is a vocal training method developed
to illustrate the philosophy that anyone can sing. Part I of the manual will discuss this
philosophy and provide further details behind teaching everyone to sing, as well as some
possible hindrances to the process and how to both become aware and correct these
challenges. A discussion of proper vocal hygiene and how to develop good habits will
prepare the ground for beginning the singing adventure. An introductory chapter will
frame concepts to be used including how to develop one's own singing language through
the use of specific images and words as well as specific vocal exercises. Following
chapters will be divided into posture/breathing for singing, vocal placement/resonance,
and, articulatirn/enunciation. The inclusion of some basic repertoire, a reference list for
further reading, and a brief glossary of terms will complete the formal layout of the
manual. A sample tool kit will be provided which will include a CD to be used in
conjunction with the manual in the form of computer assisted learning.
In Part II of the manual, there will be divisions of the above material to
systematically begin the process of teaching students within the school system. Portions
of Part I will be included and referred to and embedded in Part II. For example,
kinesthetic awareness as it relates to singing and how images/words/exercises will be
used to heighten individual awareness will be a carry-over necessity. Kwaq, the cartoon
duck, will be used as a teaching device for kinesthetic awareness and the transference of
various feelings related to singing. Examples include: ridding oneself of undue
tenseness in preparation to sing or as in the image of Kwaq floating in the water, or,
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learning the conditioned response of letting the throat muscles go, or, relaxing/opening
the throat as in the image of Kwaq ready to take a drink or sneeze. Lesson-by-lesson
plans will be provided and each will speak of the lesson's purpose and procedure to be
undertaken. Materials and techniques in the form of both physical and vocal warm-ups
with accompanying exercises and simple songs will be included. Suggestions of how to
adjust/modify the teaching for various age levels will also be a part of this format.
Individual learning and the teaching of self through building a self-talk language (using
the tool kits) will be emphasized.
Breaking the Voice Sculpting concept into easily understood, logical and
attainable parts will be the goal in structuring the manual. Applying a strategy to teach
this method in a continuous manner will be shown. There will be suggestions for the use
of overhead images of Kwaq and/or words on huge cue cards. These strategies may call
up the concept process relationship while the singers continue to sing within the group.
These cues will be reminders of how to maintain proper vocal technique. Voice
Sculpting could be used with the teacher's chosen musical pedagogical approach, and
again, I imagine the computer assisted learning design of the manual will greatly assist
using Voice Sculpting.
The Voice Sculpting Computer Model
The computer model that would accompany the manual would be designed as an
interactive instructional tool. The computer programme would provide immediate feed
back by first recording the initial voice and playing it back. Based on that benchmark
(fed in, balanced or correctly produced) vowel sounds (the primary vowels of [a], [e], [i],
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[o], and [u]) the computer programme would provide feedback as to whether the sounds
were within the range of good vocal production (tone, focus, energy); and, even problems
such as breathiness or pressed sound (defined by Thurman, 1997) would be detected.
Solutions to correct the sound would be presented by the computer generated
programme. A singer could feed in his/her own repertoire of images and words, similar
to the cue card system, and each would have a particular pedagogical meaning to be used
while practicing. Exercises both for physical relaxation and vocal exercises with their
various purposes would be a part of the programme and interactive presentation. Audio
and associated visual feedback in the form of mimicking vowels heard would begin the
process through hearing the correct vowel tone and sound as well as seeing a visual
representation. Physiological elements such as lip and tongue position as they relate to
vowel formation could be included.
A phonetic chart (International Phonetic Alphabet) would be provided, as well as
possible phonetic readings would be transcribed of the songs in the course transcribed.
The visual images of Kwaq, transferable to the learner's own kinesthetic positions for
various elements of vocal production would be initiated at various points in the
programme. The most user-friendly aspect of this approach is the ability to stop and
practice concepts, then go on at an individual pace. An ongoing accumulative checklist
would be provided to keep the learner aware of goals to be achieved. In addition, the
singer/learner could programme goals and the computer would present a 10-15 minute
practice session of what elements to focus on.
Other features to be included in the computer programme would be
demonstrations of a "say it —"sing it" approach to vocal production as it relates to
101
singing. Singing related to speech would be demonstrated in terms of a compare and
contrast feature with a type of audio sound bank. For example, this is a strident sound, a
warm sound, a shrill sound, a bright sound -- all this may also be associated with vowel
placement. Samples of various performance styles may be included such as: classical,
musical theatre, jazz and pop. Ongoing interactive testing of basic to advanced concepts
and a space for keeping a daily or weekly journal would also be included.
Further Implications, Limitations, and Conclusions
After having completed the study on Voice Sculpting: Finding the voice within, I
realize that there are changes that could improve the testing, student responses and course
content. Changes for course evaluation and approach are explored below.
Changes to the pre/post test measures would include more variables to be
evaluated, for example, inclusion of all five of the primary vowels rather than just three.
Because a word with kinesthetic awareness proved to have significant changes from the
pre- to the post-test, I would choose a word such as "snooze" for demonstration of the [u
vowel, "snaze" for the [e] vowel. Even though that is a nonsense word, it has had
positive vocal effects upon students in the past. At the suggestion of one of the judges, in
the test situation, the researcher would give the starting note for the participant, but not
totally accompany throughout the exercise. As the researcher, my intention was to play
the exercises with the participant to give them greater confidence, however, it was
apparently more difficult to rank the student in musical terms. Clearer definitions related
to "demonstration of range" and "consistency of vowel" are needed as they relate to
vocal quality versus merely making a sound on the notes.
102
Because the song "Happy Birthday" could have had a practice effect, both within
the pre- and post-test as well as between the pre- and post-test, I would change the song
to another well-known, simple piece of music such as "Mary had a little lamb."
With reference to the actual course, there would be two parts. The first part
would teach the student teachers how to sing themselves; the second part would assist
them when training their own students to sing. Rather than being a half course, I would
make the class a full year training course for music education majors, a total of 26 weeks.
A major consideration for the course would be the choice of musical repertoire.
There would be discussion and inclusion of songs with specific age groups in mind.
Students would take turns teaching the class singing, by means of exercises and
repertoire learned. I would investigate a range of styles and cultural differences, similar
to the Song Presentation portion of the course MUPF 571.07, but the format would
include a teaching presentation along with the song.
To summarize, the above study demonstrates that Voice Sculpting: Finding the
voice within is an effective method for utilizing individual concepts within a group
situation. This model has very real implications for teaching singing both in university
and school settings where cost structures are being constrained for efficiency. Obviously,
this approach will have to be subjected to further research with school-aged children
before applications of the Voice Sculpting method can be extended. In addition, this
approach allows individual progress within a class setting and the possibility of achieving
a level of success based upon one's own emergent capabilities. The extension of this
model lends itself to an individualized manual and CD with ongoing skill-building and
the integration of more advanced vocal concepts. A further step would involve the use of
103
a computerized, interactive, self-directed and monitored approach to learning singing.
An extension of this model would be to train university level teachers and re-test the
method based on improvements made through the current research.
Singing and teaching others to sing has been my lifelong passion. Observing and
learning from teacher role models, reading the literature extensively, and guided practice
have shaped the performer/teacher/researcher that I am becoming. My vision is to
recognize the uniqueness and simplicity of the human voice as a means of sharing and
communicating. I see a way to encourage everyone to aspire to an even greater form of
self expression using the instrument of voice by learning to sing and by singing well. By
developing my own self awareness of how to learn to sing I have been able to translate
my verbal and non-verbal singing language into a structure that others are able to
understand. Knowing what best helped me through the process of learning to sing after
years of technical voice lessons, and examining copious vocal pedagogy books along
with analyzing both professional and inexperienced singers have resulted in the
formation of a systematic, concise, yet simple method of voice training - Voice
Sculpting.
Voice Sculpting is a learning approach that focuses on the individual singer. Self
teaching is accomplished through the acquisition and building of skills, first through the
guidance of a competent instructor, and then by means of a self-made tool kit, a further
blossoming of one's vocal development takes place.
The process of formalizing my dream, of rigorously testing it, and showing the
results has been a tremendous experience for me. It has taught me the power of
continual shaping and rethinking concepts and ideas which have challenged me during
104
my learning to sing. Now, my present goal is to advance Voice Sculpting and to verify
its efficacy and validity as a method of dynamic self-instruction in the area of vocal
education. In the future, I would like to focus on teaching music teachers Voice
Sculpting so that they may bring it into the school system and also to conduct workshops
for those already working in the field of music education.
Sound Inspired Voice Sculptures
Swirling ... air being spun into sound shapes --Soundscapes. Starting ... stopping ... yet ever changing --Moving and resonating. Shapes as sculptor and as sculpture. Finding - releasing - honouring the voice within ... Voice Sculpting.
105
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Appendix A Course Information
i. Participant Consent Form H. Course Announcement iii. Call for Participants iv. Course Outline
L Participant Consent Form
Research project title: Voice Sculpting: Finding the voice within. Investigator: Patricia Hrynldw
This consent form, a copy of which has been given to you, is only part of the process of informed consent. It should give you the basic idea of what the research is about and what your participation will involve. If you would like more detail about something mentioned here, or information not included here, you should feel free to ask. Please take the time to read this carefully and to understand any accompanying information.
The purpose of the study titled Voice Sculpting: Finding the voice within is to assist University Fine Arts students in developing their singing voices so that they can become voice role models, if and when they become educators of students within the school system.
Subject selection will be based upon complete voluntary participation of the students who enroll in the Vocal Techniques MUPF 571.07 class.
Data gathering will be based upon predetermined measures of vocal production within a pre-post test (study) framework. As well, there will be an entering and exiting questionnaire. Audio tapes will be made for the pre- and post-test evaluations. A panel of independent judges will randomly access the pre- post audio tapes. Anonymity will be assured by assigning the subjects with number codes.
All data collected in the form of both written (questionnaires), records of student progress, and audio tapes will be stored in a locked filing cabinet with access to the researcher alone. Complete confidentiality is assured at all times. Data will be kept for a period of five years for a possible longitudinal research study following participants into the school system. The above will be done upon the condition of subject participation approval. At the end of the five year period all records, including tapes, will be erased and destroyed.
The course can be taken independently of the research and participants can conclude their participation in the research at any time, without penalty.
All participants will be given both a post data analysis and a post dissertation summary of the project in written form (faxed, mailed, or e-mailed) that will be provided upon completion of the study.
Because the technique purported in this course is firmly based in a strong theoretical "natural" based vocal production, there is no risk of vocal fold damage. In other words, the body will work with the laws of nature rather than against them.
Your signature on this form indicates that you have understood to your satisfaction the information regarding participation in the research project and agree to participate as a subject. In no way does this waive your legal rights nor release the investigators, sponsors, or involved institutions from their legal and
112
professional responsibilities. You are free to withdraw from the study at any time. Your continued participation should be as informed as your initial consent, so you should feel free to ask for clarification or new information throughout your participation. If you have further questions concerning matters related to this research, please contact:
Patricia Hrynkiw, Principal Investigator 220-5315 Dr. Jim Paul, Supervisor (GDER) 220-5675
If you have any questions or issues concerning this project that are not related to the specifics of the research, you may also contact the Research Services Office at 220-3782 and ask for Mrs. Patricia Evans.
Participant's Signature Date
Witness' Signature Date
A copy of this consent form has been given to you to keep for your records and reference.
Page 2 of 2
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ii. Course Announcement
114
iii Call for Participants
To: All Students registered in MUPF 571.07: Vocal Techniques - Winter Session 2004
re: Research Project: Voice Sculpting: Finding the Voice Within
As part of my Ph.D. dissertation in educational research I will be developing a manual, the concepts of which will be used in this course. Assessment of the efficacy of the approach will be facilitated by requesting volunteer participants from this class.
Please accept my complete assurance that whether or not you choose to be a participant in this research project, assignments and course grades are independent of this study. As your instructor, each individual will receive identical teaching materials, instruction and attention.
A formal consent form is attached for your careful consideration. The process to become a participant in the research project will be as follows:
1. The formal consent form will be provided along with the Course Outline at the initial meeting in January. A sign-up sheet will be posted. 2. You will be given an entering questionnaire (pre-test) as well as an exiting questionnaire (post-test) to be completed individually. 3. You will be requested to sing one short familiar song as well as some simple vocal exercises for the instructor, before the course begins, as well as at the end of the course. An audio tape will be made for the research. 4. Participation will be anonymous and you will be assigned a code number accessible only to the instructor. All tapes and information will be locked in a filing cabinet in the instructor's office. 5. Two to three judges will compare pre- and post-course audio tapes. 6. You will receive the results of the study post-dissertation. 7. All audio tapes will be erased and destroyed following completion of the study. S. If you wish to be involved in this study please sign the attached consent form. 9. Please note: you may terminate participation in the study at anytime, without penalty.
Thank you for your consideration of the above. Patricia Hrynkiw, M.Mus. (Ph.D. Candidate, GDER)
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iv. Course Outline
116
Appendix B
Judges' Information
i. Judges' introductory letter ii. Instruction sheet for Judges iii. Judges' rating criteria iv. Judges' rating sheet V. Judges' thank you letter
117
L Judqes' introductory letter
Pticia Hw Department of Musi UuivcssyofCa1g*ry
2500 1Jeivusy Drive N.W. calgary, Alberta T2N IN4
vbnvkiw@"Wmv.ca (403) 239-3157 August 21,2004
Dear
Re: Valet Scvlptiav Fading the Voice Within Jwdge's Rating Kit
1 'buy much appreciate your time and cirpcttise and thas* you for agreeing to be a judge for this study. Wu have any questions please cell me are-mail mc anti K wiU respond immedia1y.
sin—,
Puicia Hryw Ph.D. candidate, ODER
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ii. Instruction sheet for Judqes
Isatriction Skeet for the Jds
fladWound
There are a lobi of 52 pziicipunts, cm five (D's (number written on eadi). The pie and post test are mixed together. A two socoud break separates each singer and the Cl) - will give buk numbers.
Each sating sheet has a Waoc for the judge's idoitification lelter as well as the number assigned to the padicipait There is also a spanc for the a) number. Please fill these in for eadi shed.
Following is the order of what is presented for each tes1 Happy Bitbday #1 (to 'Kwaq', the duck acased for this study); the .cneeze exercise (2 notes going up and down); the
exercise (afriad), the you exercise (5 notes descaiding); Happy Blibday #2,
Ile researcher tupests each set of instiuctions twice for each exercise, acbidiag a denmasiration. Each starts just above middle C, one octave lower for the mate singers.
The recorder was not sensitive to the singer and the piano was of inferior quality. Participants did not always sing the exact number of groupings per cxercisc, ranges varied. Happy Birthday was sometimes a capdfla and sometimes with piano assistance.
Met examining the attached Criteria Sheet, please tale, by circling your choice on the attached rating sheds.
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iii. Judqes' ratinq criteria
Jud2e's Rd&f cWtfa
R*aa Sln
I = poor. 2 weak. 3 = acceptable: 4 good: 5 = very good Tasari1orv:
) Pitch • Sharp, too high from the deafred pitch (preamd) * Flat too low from the centered pitch 'Accurate
) Mamafactured Voice • Ptd*Y (cartoon charar*er) • Too DarkfIoo far back/Hooty • Cbestvoke pushing up too far •Pop sound/Rock sound - Operatic or imposed
)' Natural Sound: Without afkdation (inanufacturnd soural). nocqitable and
) Pr*ctionofSound • Qaifidenoc (inbust sound rhythmic vitality, jx-ojection of wcxds) is evidect • Iñhi1,ited/Pulkd back/Weak and apologetic
> Musicality • Bland vs. colorful iiteqwdmion • Variance in dynamics (volume)
> Diction • Good/Poor -ia. articulation of toiels and coosonants evidence of dialect including qiresding or drele or garble... -Word color and/or emphasis
120
ciin contmaed Page 2
azticipant's ability to emate ewn me Ilnoughout the entire range.
Please examine the durb below (Thurman, es a!, 1997, p. 32, p 319) and lake into account the soundspcc*nim used in them when rating the participants and lake note how the qucatices relaic to the spcthum used.
I Vocal FaM I
OPANd Vocal FOU Ooe -
Vaud %W Ckmm
Wia- NoFay
aay VosocQ.uiy F-
F-Ail
- l)uI
(SobL)
WulMcflow Oftakr
Pas4, V.oc
Sutc* na
Pid Edgy re Tom
• A continuum olvoice quality families that we iroducedpthnaiily by dynami interaction of the larynx's closer and opener.
• m I- * TWO"W6CWTUEft r_ bomodDimm____
Od*k
SQUAAM Woc(y !d[10.1 lip FWNW
Rma
P&m.BnYom
C-
• AcoI,nm1m ototoc quality families that are produced ptimaiily by Lmenla of vocal Vacdimensious.
the
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iv. Judqes' ratinq sheet
Jkdre'sRadmrShm
Paflkprmt CEYThz& I
Psc E by cdmg Yom inipressimi of the sinr in terms of Happy Bkthday#1
Patricia Hiynkiw Department of Music University of Calgary 2500 University Drive N.W. Calgary, Alberta T2N 1N4
Dear:
Thank you for being an adjudicator for the university research study. Your time and expertise are greatly appreciated. Enclosed please find an honorarium in the amount of $200.00.
Sincerely,
Patricia Hxynkiw Ph.D. candidate, GDER
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Appendix C
Enferinq Questionnaire -- MUPF 571.07
Background: The following questions relate to the concept of Voice Sculpting in a number of ways. Upon completion of the study each participant will receive an analysis of these factors and then receive a better understanding of these questions. All answers will be held in the strictest confidence and your thoughtfulness in answering the questions is greatly appreciated.
Name: Female: - Male:
Please answer the following questions, where appropriate, with a check mark.
1. What is your musical background? Voice Instrumental - Both
2. How do you rate your singing? Good - Average Poor
3. Would you be comfortable singing in front of a group? Yes: No:
4. Would you be comfortable singing in front of a group of peers? Yes: No:
5. Rate from 1-5 the following areas of vocal production that you feel need most attention and/or improvement (most = 1; in between= 3; least = 5)
Number: Posture/Breathing Vocal Tone Diction Tension Release/Inhibitions/Confidence Interpretation
6. Do you worry about your performance when you sing? Yes: - No:
7. Have you ever had a negative singing experience? Yes: - No:
8. Is your "image" of a trained voice one that sounds contrived? Yes: - No: -
9. Did you listen to classical music growing up: Yes: - No: - Sometimes:
10. As a child, did you sing in a choir? Yes: - No: - Did you sing in a choir as an
adult? Yes: No:
11. Have you ever studied voice on a one to one basis? Yes: - No: -
12. Are you taking this course to improve your vocal technique? Yes: - No: -
13. Do you plan to continue to sing and develop your vocal skill after completion of this course? Yes: -
Thank you for your participation in the Voice Sculpting study and your thoughtful responses to the following questions. Please check the appropriate answer. All answers will be held in the strictest confidence.
Name: ID#
1. Do you sing more often than before taking the course?: Yes - No
2. If you were self-conscious of your vocal production before beginning this course, are you less so now? Less: In between: More:
3. Do you like your vocal production more than when you started this course? Yes: -
No:
4. Are you now more focused singing in public? Yes:_ No: -
5. Do you feel that your vocal production improved in the following areas: Breathing: Yes: - No: - Tone Production: Yes: - No: - Diction: Yes: No: Less undue tension: Yes: No:
6. Was this class a positive experience for you? Yes: - No: -
7. Do you plan to continue to develop your voice, given the techniques learned in this course? Yes: -
No:
8. If offered, would you like to attend a follow-up course such as this one? Yes: -
No:
Thank you for your participation in this study. Results will be sent out on completion of the study.
126
Appendix E
Vocal Exercises to accompany cassette tape
Vocal Tcc1mkics 571.07 WInter 2004
Thiciscs to o with the tape Of YOU : Uso in 0MVw0doi withycur cm cards. Initially, try one cani, NO as you impra Concenvate at all times Be pstd and feel whW isgoingon!Map your prugress in the journal. Side A - for annie voic.
Ecerciac #1: Two notes going up thcscelc with acho cu5ot1utyou can take a breath. Your choice of vowcL Excithe 112: Three notes gcnn up the scale with a chord an between so that you can take a breath. Your thoico of vowel. E'cercise #3: hce-ah - initIates moenient of air, builds the thoracic and abdo,iiinal muscle; for amging Exercise 114: five notes descending, begin on the iing-e rewind twice and fait go to the kec-ka; then the preh-p Exercises arc cqilainod in the handout of Feb-3/04. Exercise #5: flab-flab TWO, Explained in the handout of Fcb.3,!04. Exereisc#6: th'hung8lidc.bsidgcsbrcsksjnthev0j0. Exercise #7: a taiad (3 Doles) begin with oniy one vowel then try a different one g down, cyou hay practiced the exercise fora pc1iodoflimc.4(,ij 't/' o5ci) Exercise 11: dwsodeofa WPIUS,Atwtc, fOI6w6dbyfivcnotra. VA= arid gradually get buder as you go up. Use the hand motion. Choec a oI but change it with differern practice acs.ons. Exercise #9: The 'too' slide of a 5th Feel the resistance in the bceailth (rope) and cotmect the Sound 35 you slide up (siren) and back Excrcisc #10: The 'foo' slide of an octave. Exercise #11: a puIsath cvxcisc usLn8 the octaw. Feel as thougb you arc on a tpdlinc prcaauag without your fed comia up. This will connect the voice and breath. Makeup your own nguagc for this exercise as usual. ni Lv to vary the vowels. Exercise #12: three notes going up the scale, detached. /
Exercise #13: five notes deccnding way the vowel with practice
Exise1l4 a ai* note change vowels from oh ., ç,o, op. Feithec angcain tunguc pc.utinn, let it fall into pisce Eps free, jaw unhii(od &op owt if you need to release. Pulsate with a connected breath. Exercise #15: a range extenaion exercise. Use the hand iwtion, graàially get Loudcr as you go up; remember down as you go up, induding your throat Use vowel mod fications for all of thescexerciacs as you the scale when the air gelaImm compressed Exercac #16: five notes going up and back 4ovn again. Vary the vowel.
Side B -for the female voices. M above up to cxerclsc#15; Exercise 1#16: three notes going up thc scale, but descending to develop the lower range. Exercise #17: five notes going up the scale, but descending to develop the lower range.
127
Appendix F
Sample of Students' Cue Cards
Image/picture
The image to the right is one of a girl ready to Jump off a diving board into the water.
Summnaiy - First of all, please read these sheets and take in what I sin saying afler each lesson. Please keep them in a binder. If you like, bring inc a tape to record the songs that we will be singing coming up. Always e-mail me if you need to be absent from class, I can give you the class noses. The concepts being presented arc purposely repetitive. Alley the groundwork for not only intellectualizing what I am sayin& but actually being able to kinesthetically 'do' what I am requesting, we will continue to enjoy singing together and in presenting the songs after reading week. More of that later.
Thursday, January 27, 2004. To begin the lesson we prepared ourselves by getting into the singing state. body and mind, By shaking ourselves out, doing the 'rag doll' flop and head roles as well as blocking out the cares of the day we were then able to focus on singing, Key: concentration, awareness and routine for the thought process as well as the actual practicing of singing.
A review of the release, posturclatance, onibreath and 'n seek' intake of air, plus the feolings and sensations associated with the 'breathe' out were part of our routine. How do you tell your-self to gel into the singing state. Be sure that the directions arc precise and related to a brightened awareness of the actual doing' or experience of creating the sound. Kinesthetic awareness is a key component of Voice Scsdpth,g. We spoke of the 'Eoot beer' guvie and felt what Kwaq was showing us as a relaxed throat jaw and tongue, We can even feel the sensation of the drool. The idea is that there is a complete feeling of 'nothingness' before we take * drink or sing a pin-sac (to transfer). An imaginary glass was used to mimic this feeling. The muscles used to swallow do not come into play for singing. Wc tied the sensation of both the sneeze (for cc) and yawn (for ak). Images of Kwaq were shown. Another 'nick' for singing up the scale was putting our hand in the air and going down with the hand/arm for an ascending phrase. Feel the throat also relaxing (tongue falling down, as in the 'no swallow) as you do this. Ths action was used for thnging the ltigherFin the "little mansong. Add to that motion setting gradually louder and releasing! "There stands a little man" song is to be memorized for January 27104 (today). Try to we the images in the song and sing the poetry.
For each of the concepts Kwaq has been used to further demonstrate the above. The past weekend you were to begin writing one word on a 5x3 card as it will relate to instructing yourself to sing. These cards arc very important in the next phase of our development vocal exercises. Thursday, we will try out some sounds and discuss the importance of vowels and consonants in singing, I'll give you some vocal exercises to try on the weekend.
Next Tuesday, we will begin to sing a series o. exercises. Each have a purpose. I will give you a cassette tape and instruction sheet. Please add this to your daily routine of thinking about singing: not for the actual Idoingli (The tapes will be of a minimum cost. pc pay mc for them m the ne couple ef weeks, they will be part ofyourtool I Will check your entire binder with these handouts/music and cue cards plus the journal on
Sample of Class Lecture Handout Sheet
136
January 22104 - pg. 2
the Tuesday after reading week. Please keep everything together, tell me now if you need additional handouts or music (if you have 'misplaced' anything!).
After singing, we reviewed Vocal Hygiene. Bubbles and a windmill were passed around as an exercise in the awareness of what it feels like to breathe low and release the breath in an even/steady air stream. The next step is to phonate.
Assignment: Use your jouzn4, cue cards to sing both the "little man" and "Calm as the Night". Begin to memorize she biter song for the Thursday after this weak. Writs an assessment of "Calm as the Night" as it relates to singing with the concepts we have been incoiporating into your scif-insinictions about singing. Does the musical line ascend, what canyon dotoassistyourself? Start to look at the vowel sounds (ab, a, a, 000) - arc some of the tongue positions as a particular pitch more difllculç -what should you do? What doyoufralas you sjng, How is your jaw and longue, Ulm about the breath for particular phrases? How am you preparing yourself even before the song begins? These NO some ideas of what to think/feel about. Make the actual sounds by singing loot Have some fun, even slot of fun 1!
137
'Appendix I
Lecture Synopsis
Week 1 Day 1: Handouts: Class Outline, Recruitment letter, Consent form Questions/Answers regarding class and research study.
Day 2: Introduction to the Course - Philosophy —"anybody can sing" Introduction of the caitoon character 'Kwaq' - name tags handed out, role of 'Kwaq' in kinesthetic awareness as it relates to singing.
Each class began with a review and handouts of the previous lecture; vocal exercises and singing followed the lecture portion; as well as the image of 'Kwaq' on the overhead.
Week 2 Day 1: Vocal hygiene; posture, stance and state of readiness for singing discussed - 'Kwaq' releasing on a roller coaster and landing a ski jump (overhead) and pulling the curtain open; speech related singing; breathing exercise - start to develop your own language - cue cards.
Day 2: Relaxation exercises; breathing for singing exercises with phonating; blowing bubbles and windmill used for kinesthetic awareness of breathing for singing; 'Kwaq' relaxing the throat with guzzle, conditioned response of relaxing the throat.
Week 3 Day 1: Importance of self-talk directives; role of the tongue/jaw and the changes related to vowels and consonants; concept of "inside eyeballs."
Day 2: Introduction of IPA; speaking "on the air" and transfer to singing; projecting the voice; balance and buoyancy in singing; vocal resonance and the opening of the naso-pharynx area in singing.
Week 4 Day 1: Specific exercises for soft palate development; voice placement and heightened awareness of feeling the vowel sounds; discussion of Song Presentation.
Day 2: Handout of tape and summary sheet of exercises; efficient practice sessions discussed; cue cards - concept of layering. Practiced all exercises on the tape.
Week 5 Day 1: Concept of inner ear and pitch/tone; nature-all singing review; creating the sound of the moment; streams of vowels and vowel modification in singing; discussion of mid-term exam.
Day 2: Importance of checklist before singing - state of readiness, body/mind connection; importance of words/diction, rhythms and pitches in vocal production; siren exercise for range extension; centering the pitch and vocal tone; musicality and expression in singing; kinesthetic awareness of opening the naso-pharynx area - distribution of cherry menthol mints; awareness of vowel/consonant - distribution of chocolates.
138
The second portion of the course consisted of a mid-term exam and both individual and group song presentations.
Each class began with body and vocal exercises to serve as warm-ups along with a review of previous lectures/vocal concepts.
139
Appendix J
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• Master classes are a daily feature of the 2005 Mountain View rest Ival
'Conducted by master muslil n and pedagogue Rudàlf Jansenfrorn the Netherlands, these classesare an outstanding opportunity for singers and
'pianists to workshop-the song repettoire. FTom Auqust 9-13 he will be joined by
one of the world's most esteemed singers. soprano Elly Amëftnq.
• All concerts include slnqers and pianists from the Master ,Classes.
MASTER CLASS INSTRUCTORS
illy Ameiinq is beloved and admired
throutiouk the world torher splendid and expressivevolce and her compelling artistry.
tiiAmerng'S 1995/96Iarewell tour marked. •Js mDestone in a remarkable artistic career.
Be•lnnfnq with her pcofessiOfla debut a;
acohcert singer in otterdar in 1953, she
pert arrnd for more than 0 years Iv1rtulty every major cultural centre in the worid. trim
Tasmaffla to Iceland, from Nairobi on the
E.gtiator to Finland in the Arctic Circle.
Her annial tours arid ketltzét4 apparthce
With the leading International orchtràs
have teblished her as one of the greatest
singers of our a. She has sung with such
conductors, as Ernst An serthet, Carlo MarIa
Giul1nIoifan0Sàailih, Benard Haittnk,
Andre Previn and Seal Ozawa, as well as
many.othem She has regularly sung at the
Aix en Provence, Edinburgh; 8ergen (Norway)
and Tanglewood Festive t to mention w. a fe
She has sung In opera. notably Mozartjd ha made numerous television and radio
appearances. in her song recitals she has
made a f personalpreferene or the German
L ied and French'iiélodie, but Is at home In all
forms of song including favourites from the world's greatest music halls: Her dedication
to the en song repertoire has resulted In the
production of countless LPs; cassettes: and COs ftwartlsts have recorded o éxtènslvety,
thereby póv1di fuhjr&qenertions with
opportunities to hear virtually her entire
rpetoiie. She has ricorede on Hpe1on.
Philps, CBSfSony, bceiera. EMI, TIatc,
Harnonla Mundi Germany. Erato, WG,
Nonesuch, Dcca and Argo;
Madame An,c'flr is in great deniafid
thr,jghout the world for her Mástrciasses
for singrs and their niIts, duriri which
they benefittrom her knowiedge and the wealth of her practical insight. She works with
carefully selected postgraduate students who
need finishing touches before embarking on a
performing career.
Or. Âme jing has been awarded four honorary
degrees. Born in the Netherlands, she was
knighted by her Majesty the Oueefor her
services tomusc.
Rudolf Jan" n has verIconcert tours
around the world with the most distinguished artFss includlng Elly Amehng Robert Hall
Jean-Pierre Rarnp&, Andreas Sthmldt, Dietrich Fischer-Oieskau and 1dm Krause.
Mr. Jansen holds theprolèssorshiP for tied-
Accompantmerit.at the $weelinck Conservatory
In Amsterdam. He Is in great demand for masterlass*s and has given classes In the US, Canadd, ,iap4n, Germany, Austria, Italy, Finland
