Training, Education, and Simulation
International (TESI) 2005
Maastricht

22 - 24 March 2005

http://www.tesi2005.com/

Thursday, 24 March 2005
2:00 p.m.
Session 11A.3

Is there an inductive way to voice training?
An exercise we have called the "missing link" of voice voice training
might constitute a step towards a complete set of exercises for vocal
training


Werner Gorzalka
Paper for TESI 2005
Session 11A.3


Literature:

CD Chomii "Overtone singing": Sample 1
Voice sample "Mayingo" from "Lambarena" - Bach to Africa
Idea: Mariella Berthéas
Realisation: Pierre Akedengué and Hughes de Courson
Wolf/Aderhold
Sprecherzieherisches Übungsbuch /
Book of Voice Training Exercises
Sprechparameter / Parameters of Speech
Werner Gorzalka

Is there an inductive way to voice training?
An exercise we have called the "missing link" of voice voice training
might constitute a step towards a complete set of exercises for vocal
training

This article is work in progress.

The question: whether there is an inductive way to
voice development, is connected to a complex phenomenon.
In order to explore this phenomenon, I will not, however, define things by drawing on the functioning of the larynx; similarly, frequency diagrams generated by an oscillograph interest me only marginally, with the exception, perhaps,
of the notion of formant. We will come to this later on.

Rather, I would like to adopt the point of view of a singing teacher from, say, the 18th Century. Additionally, modern techniques of body training will play a role, which themselves do, of course, need to be analysed.
As a further premise I will employ the notion that belcanto
- as I know it - should on all accounts cultivate the complete voice, i.e. voice in its entirety. This means that for the concept 'voice training' I will always substitute 'belcanto'.
The only aspect I will neglect is the transfer of speaking from belcanto into everyday life. Otherwise, belcanto - as I know it - does shape the capacity of speaking in a perfect way, and,
so to speak, defines it.
Now, I owe you a definition of 'the complete voice', or
'voice in its entirety':
1. The complete voice, for me, means the human voice which employs the body - as an instrument - to a maximum, the necessary physical functions cooperating smoothly and,
for the student, without stress or strain.

My remarks so far may have offended you. In fact, I will provide little that can be analysed by a tomograph. Rather, I intend to adopt the point of view of a researcher from the 19th or 20th century, like, e.g., Darwin, Konrad Lorenz, or Pawlow, who based their propositions and theorems on concrete observations.
In this context, I should like to explain the term 'inductivity': the inductive way, for me, means that I put an exercise, a sound, a certain approach to physical effort down to physiological, anatomical, neurological and other factors that are customarily described in natural science.
I minimise my axiomatic system, as usual.

On the other hand, a singing teacher can observe things which a biologist, neurologist or computer scientist will hardly ever conceive. This is why I have been wondering
for quite some time about the fact that in research about music and singing in connection with brain function, singing teachers are hardly ever consulted. Instead, tomographs and other measuring instruments are employed exclusively. This approach can be compared to someone trying to find out which languages people speak on earth by aid of a satellite image. The problem is: people with their mouths articulating, or any signposts that would give a clue can be seen only from above; that is, one cannot see the people speak, and one cannot read the signs. Finally, the possibility that the satellite find an open book lying around in a field is not very probable. In such a case it would be best to send a linguist to a continent, e.g. to Africa, or to Borneo, Europe or anywhere else, and let him do the work, instead of the satellite. He will bring results. Additionally, he is also much cheaper.

As you see, I do not wish at all to work inductively, at least not at the moment. In any case, I wish to place my axioms in a way modern scientists - with their way of viewing the world empirically or by aid of measuring devices - would not. If you search the internet for information on 'voice', you will sooner or later come across the image of a larynx, but following system theory, we are interested solely in the emanation of the larynx. After all, a whole is more than the sum of its parts, the natural scientist being relegated to a bean counter who unfortunately is unable to cook a meal out of his beans.

Now, let us cook! Which ingredients will we add to this
complex and ambitious dish? One thing we can be sure of, which we have seen just now: The dressing, if prepared haute-cuisine-like, will taste not of each of its single ingredients, but is a 'composition', a new flavour. This, of course, holds true for singing also. Far too often, each and every pupil of a singing teacher will sound like this very teacher instead of developing their own disposition and abilities.

Therefore:
2) The complete voice means, amongst other things, the individual voice. We have found another important component but, looking more closely, it derives from my first proposition
if one takes into account people's individual physique: everybody is liable to the concept of variation.

I will now come to my main topic.
During the last three years, I have tried to identify the intrinsic constituents of classical singing, that is, the complete voice or 'formant'. The reason for this was that I needed a clear-cut image for instruction in order not to disappoint the students who confide in me.
You have to keep in mind that the work of a voice teacher immediately affects the human body, which differs categorically from the work of a plumber or mechanic. (And should be paid accordingly, don't you think?)

In this context I realised that there is no standardised image of 'head voice'. In fact, no singing teacher is capable of agreeing on anything with any other singing teacher. They are all monoliths in practising their art. This, however, is the very thing one expects of a mathematician, a biologist, or a computer scientist; people who are obliged to communicate.
Thus - 1:0 for natural science.

Some time ago I found out what can be meant by this 'passaggio': If I assume that 'formant' means 'head voice', then it would be best if I always sing my Schubert with 'head voice'. In order to do this, 'support' is required. During the last months, I have found out for myself what that means exactly. We will find out later on, perhaps, what other things I can additionally pass on.
From a certain point on, support must be increased in order to prevent the larynx from ascending or 'skidding upwards'.
Nearly every student of singing knows about this.
But this is not our topic today.

The search for a minimal set of exercises includes the question: What exactly do I want to teach?
I ennumerate:

- resoncance
- volume
- articulation (and marginalisation)
- formantic sound (I substitute this by 'supported sound')
- well-effected placement of voice (seat of voice)
- vowel equalisation
- singing, or modulation. A measured conducting of the voice over two or two and a half octaves which is the range used in classical singing (three and a half octaves must be technically in reach for an average human being)

To clarify things in advance: Belcanto technique, for me, consists of two integral phenomena:
1) The voice being placed at a certain point around
the head, and
2) further ‘below’, the opening: the subjective widening of the throat down to (at least) the diaphragm, or, even better, to the pelvic floor (subjective perception generates variation). If this can be accomplished, everything else will function physiologically by itself without any conscious control, including, in my opinion, the activation of the
so-called ‘support’.

I will omit a discussion of support, because by aid of an exercise like “memmemmemmemm…” , sooner or later my students will always get through the passaggio, often (though rather reduced) to three-line ‘c’; this mostly with women, even in our first training session.

I demonstrate to you the correct procedure.

-- demonstration of “memmemmemmem” with assistant --

This went over the so-called passaggio and used the,
as I call it, n-resonance.

In order to achieve this, the ‘wide throat’ and a relaxed lower jaw are required. (However, the lower jaw is just a symptom: it will often effect widening, but not always. Some people manage to pen in their throats even with their mouths wide open.)

(Provisional) definition of ‘support’: Suspension of the larynx by a conscious (later unconscious), i.e. ‘virtuoso’ (freely and unconsciously employed) physical effort.
(3. Support might constitute the third element, although I assume that it is incorporated in the second. This is indicated by my research; however, it still has to be confirmed.)

Proposition: If voice is organised like described above,
one can ‘disregard’ the passaggio. In other words:
first of all one continually works with head resonance,
or head voice. Here, however, I have to add that the distinctive chest voice should also be included. I will omit this aspect in this article.

I now come to an aspect which is pivotal for me and my article. During a dinner taking place at the beginning of December 2004, two incidents happened which proved
very valuable for my research. Someone presented to me the CD “Chomii – Overtone Singing”, or, to be exact, Example 1 from this CD. Immediately, I was all ears, because that was exactly what I had long been looking for. Please listen to the example for yourselves:

-- Example 1 Chomii Overtone Singing--

Approximately, you can hear the following:
I. a sound I call ‘n-resonance’: resonance which you will achieve when 'n', 'ng', or 'm' are very clearly sounded in the resonating cavities next to and above the nose.
Resonance will then spread to the whole of the head, especially to the air sinuses, the sinuses, and the throat and pharynx. This resonance has already been described scientifically. (I will present the relevant studies at a later date.)

These perceptions are subjective phenomena for the student
of vocal technique, but not for the listener who can directly locate the seat of the voice.
This ‘seat of voice’ is sometimes called ‘mask’. Subjectively it is perceived as being located around the air sinuses, sinuses, and nose, reaching almost to the ears, a bit like generously-fitting ski goggles. Hence the expression ‘mask’ which seems to stand for a mask fitting well around the eyes – nothing more.

II. one can hear that the pharynx is 'wide open'. This is a subjective perception which nevertheless refers back to the objective resonators located in the lower part of the head and the throat. Both, the subjective perception as well as that of the listener, are quite distinct. In order to achieve this condition, the body has to be erect and the throat must be suspended in a certain way in order to prevent the resonators from collapsing or 'jamming'.

III. Articulation: one can hear how sounds are being articulated. Take, as an example, the German word ‘Tüte’:
If ‘ü’ is abstracted as a position of articulation, being defined by the lips forming a ring (like a kiss into thin air) and then firmly moving forward, one gets a well-defined formation of sound without the sound being mentally intended. It is being produced strictly technically. I will come back to this mental component later. This sound (or this virtually indefinite succession of sounds when the lips are moved forwards and backwards, as demonstrated in the example) is independent
of the basic sound which is being made use of in order to produce a number of sound implementations.
One can also carry out this sample with the tongue in three different positions in order to show that articulation is independent of the basic sound.

-- demonstration a - e - i - o - u --

I call the phenomenon I have just worked out the “missing link” of voice training, in analogy to the archeologic-anthropologic link scientists were after for a long time.

What exactly is being linked?
Resonance, support, and articulation.

Several other components of voice I want to mention in passing. For the moment, however, I will disregard modulation and singing.
Volume is being included by the simple fact that I do inevitably need a basic level of volume when singing and also when speaking (especially on stage). This basic volume does not necessarily have to be varied, since in voice training –
i.e., in belcanto – one assumes that the basic intensity is more or less constant. To begin with, ‘on’ and ‘off’ is sufficient in order to vary volume. Everything else is, for the time being, managed by articulation. This basic intensity guarantees a smooth functioning and coordination of the vocal organs and, above all, a basic state of suspension.

In effect, what takes place here is a decoupling of articulation from the production of the basic sound. At first, I called this phenomenon ‘marginalisation’ of articulation since in classical singing it is typical that the objective and subjective significance of the basic sound itself increases while the significance of articulation for the overall sound decreases (taking the normal speaking voice as starting point).

Analogous rules hold for speaking on stage. The student
of singing (and the singer, too) gets the subjective impression (which is also objective, as concerns physical effort)
that articulation grows less significant in favour of the production of basic sound (which can always be identified as the sound 'A').

However, we have to deal with more than marginalisation when discussing the role of articulation. Since it can be observed that articulation now gets clearer and easier to perform, it follows that it gains more and more importance and is able to unfold. Thus, we have to deal with two interacting systems: the production of basic sound, and articulation.
In the field of classical singing, the concept of ‘marginalisation’ seems to be justified. What at present can be heard on stage does not pay much respect to the underlying text. Which could be different, but this is yet another topic.

Let us now come to speaking. Here, articulation is by all means essential.
Starting from the fact that with the theorem of belcanto all vowels can be produced, the connection to the missing link becomes clear immediately.

-- demonstration of Belcanto - Theorem --

To make it very clear (now, we have to take into account
the mental component of articulation as well): the vowels
u, o, ö, ü can be produced by a variation of tongue position alone. That means, the production of basic sound can go on undisturbedly as long as the brain does not interfere in order to insinuate meaning.

-- demonstration u - o - ö - ü - ... --

As soon as meaning is added, the organs of speech react differently, trying to produce a completely new position.
But if one goes on producing ‘A’ and adds ‘Tüte’ - meaning the art'iculatory position of the vowel 'ü' -, one gets the new vowel without thinking of it.
So much for the mental component of articulation
(see above).

-- demonstration "A" - "O" --

However, many more things are defined by belcanto,
and this is respected by speech training, provided one reads closely.
I will demonstrate to you the following consonants:

-- "d", "t", "l", n" --

The words ‘data’ and ‘dental’ demonstrate to you that one can leave the mouth open, which illustrates that the basic sound continues.

-- demonstration d, t, l n und "DATA" and "DENTAL --

For all other sounds, the rule holds true that principally
they all require a production of basic sound in the sense of the missing link and that a decoupling is always possible.

To sum things up it can be said that by following the way described above one can easily arrive at a voice training which is resonant and free of stress and strain: a voice training which will even give pleasure to the students.

Before drawing to a close I should add that I omitted the following essential elements:
- ‘Support’. In this field, too, go.arts® have developed a concept which will be presented in another article. (Of course, we have to come up to expectations as regards body-oriented voice training.)

- The ‘classical sound’. It can easily be obtained by an additional adjustment of the missing link, which I will likewise present in another article.

Thus, I still have not found an inductive way to voice teaching; however, I have been able to provide a number of elements using the deductive way; elements which may one day be derived inductively.

Open Questions: Does every training proposition have to obey the missing link? Conversely: What training propositions are there following the missing link?

Thanks to Dr. Britta Bücher
Thanks to my assistant, Simone Neumann