Professional Documents
Culture Documents
NOVEMBER/DECEMBER 1986
TRMNING
Voice
THE
Anne
Faculty
Ackley
William Riley
Sandra West
Tracey Chebra
Opera
Lindsey Christiansen
Department
WMIL4J'I'E
Judith Nicosia Civitano Glenn Parker
SINGER
Thomas Faracco
Marvin Keenze
Musical Director
David Gately
Lois Laverty
Kthrvn ()Isnn
Stage Director
V\/E1J\/l1N'TEft
Pratt '"Vocal Coaching
- "
COLLEGE
Suzan PrattDalton Baldwin
LHC')[ftLC)LLE(,L
Laura Brooks RiceGlenn Parker
Princeton. New Jersey
Westminster's voice department otters outstanding career preparation for the aspir-
ing singer. Graduate and undergraduate voice majors study with internationally recog-
nized coaches and a voice faculty of active performers who provide consistent pro-
fessional instruction. Students sing in the renowned Westminster Choirs, performing at
major concert halls with leading symphony orchestras and distinguished conductors
and soloists, The O pera Theatre presents a fully-staged production each year.
At Westminster, a singer's training only b e g i n s with the voice. We systematically build
each student's musicianship, intellect, and pedagogical skills, Our strong course of-
ferings in music and the liberal arts prepare students to become excellent performers
and educators. Our well-rounded educational approach, coupled with performance
opportunities and supervised professional training, assures that Westminster trains
the complete singer.
Voice asa principal instrument is offered within Bachelor and Masterof Music degree
programs in Voice Performance, Music Education, and Church Music
Please send:. undergraduate application and college viewbook
N:
fl graduate package t . financial aid information
catalogue
Admissions Office
name-
- phone
- Westminster Choir
address
College
- - Princeton, NJ 08540
C i t y
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hyperfunction by focusing at-
tention on functional detail
disrupt easily the unity of this
function. For that reason, the
conventional instructions,
such as lower the jaw, flatten
the tongue, open the throat,
do not do justice to the total
phenomenon of vocal hyper-
function. What is needed is an
approach that corrects hyper-
function by an attack on the
hyperfunctional attitude
rather than on the hyperfunc-
tional detail.
By using the motions of chew-
ing for voice production, we
transfer the undisturbed mus-
cular teamwork of chewing to
the motion of voiced speech by
appealing to an inborn auto-
matic function. In doing this,
we not only reduce hyperfunc-
tional tension of the resonator
but also improve, at the same
time, vocal cord function.
Freedom to move the jaw loosely
is evident in chewing. Were one to
chew any substance with the up-and-
down jaw action advocated by some
vocal pedagogies, food would fall
out of the mouth. Were one to speak
with the same perpendicular action
required in some techniques of sing-
ing, speech would become unintelli-
gible. Lightly shifting the jaw from
side to side, regardless of the degree
of openness, while singing a pas-
sage, can often produce distinct sen-
sations of jaw freedom. At no time
should there be stiffness in the mus-
cles under the jaw (the chin area), as
so frequently happens in yawning
and in other devices for lowering the
jaw.
The jaw drops from the sockets
during regurgitation, yawning, snor-
ing, drunkenness, idiocy, and death.
Regurgitation closes the throat so
that the esophagus may provide an
exit for what the stomach is refus-
ing; the characteristic sounds of
snoring are the result of enlarged
mouth space, with fallen velum and
altered pharyngeal area; in drunken-
ness and idiocy the clarity and tim-
bre of phonation is diminished; in
yawning the timbre of the voice is
distorted; and in death, when there
is no longer dynamic muscle bal-
ance, the jaw hangs unless held
closed by some mechanical means.
To indulge in any of these conditions
during singing is difficult to justify.
To tell the singer to "drop the jaw"
as a corrective to jaw tension is sel-
dom useful.
Indeed, the mouth can be opened
exceedingly wide without unhinging
the jaw, that is, without having it
"slip out of the joint."In hilarious
laughter, the jaw permits a great
deal of buccal space, and the lift of
the fleshy parts of the face that cover
the zygomatic area (the cheeks) is
obvious. Such a feeling of upward
lift in the area of the upper jaw con-
tributes to a different perception of
spatial arrangement of the mouth
and pharynx than does the sagging
jaw with its downward facial pull.
(There is, however, no need to main-
tain a lateral "smile"position in or-
der to avoid dropping the muscles of
the face.)
Tempero-mandibular joint (TMJ)
syndrome seems to be on the in-
crease among singers. It has been
suggested that this may be due to
some common orthodontic practices
of recent decades. One has only to
observe the exaggerated perpendicu-
lar jaw actions dictated by some sys-
tems of singing to find a more prob-
able explanation: one simply cannot
constantly hang the jaw in singing
without developing functional com-
plications. Many singers who have
complained of TMJ syndrome dis-
cover they no longer have that prob-
lem when they learn that they need
not hang the jaw in the hope of
"opening"the throat.
The "hung jaw"pedagogical
tenet has been much popularized in
recent years in manuals for choral
conductors and in introductory
methods for the novice singing
teacher. (Of course, dropping the
jaw, thereby increasing the dimen-
sion of the forward part of the
mouth resonator, will uniformly
lower all formants and will serve as a
quick antidote to the problem of
voices that do not easily "blend";
but the solution is a compensatory
one that often produces long-lasting
problems for the solo voice.) The
"hung jaw"theory stands in direct
opposition to a historical pedagogi-
cal position which maintains that
mobility
of
the jaw, not low fixation,
avoids tension and allows for free-
dom of articulation and proper reso-
nance balancing. The hung jaw sim-
ply
is not a free jaw.
Unless pathological problems are
present, there is seldom any feeling
of tension in the jaw when one is in a
state of repose or during speaking.
(continued on page 32)
NOVEMBER/DECEMBER 19863 1
Were the "hung" jaw the constant, *********************
*
relaxed posture required by nature,
would all hang our mouths open we
Just Published
when breathing and phonating. . *
Both communication and physical
FIVE SHORT ARIAS - A. Scariatti - Voice and Piano *
attractiveness would thereby dimin-
*
ish!
"
TEN SONGS - Bizet - Voice and Piano
One of the best ways to achieve
--- *
jaw mobility is to permit the sounds
HANDEL Solo Cantatas
*
of language to be shaped according
.. (published separately)
*
to their natural postures as deter- Cantata:
Cantata:
*
mined by pitch and power. When we
Lungi dal mio bet numePartS, I'idolo mb
*
raise the pitch, we open the mouth
G. F. HandelG. F. Handel
more, but we retain the relative rela-
tionships among the vowel shapes.
Realization by Robert K. Evans
*
The notion that there is one ideal
. Voice and Piano
*
mouth (and therefore jaw) position
*
for singing is inimical to the acoustic
VOCALISES and SOLFEGES *
theory of vowel production, and crc-
ates an artificiality of expression, at
.. 0. ROSSINI *
the same time obliterating diction.
,, *
Attempts to move only the tongue
and from our catalogue
*
while maintaining a hung jaw, under
the assumption that one is thereby
SONG ALBUMS complied and edited by *
"relaxing" the jaw, will violate both .. BERNARD TAYLOR *
nature and art. It is not here implied
Classic Songs
*
that singing and speaking are identi-
Italian - French - English
*
cal; indeed, one almost never opens
High VoiceandLow Voice
the mouth as wide in speech as one $
*
does in upper-range singing. Desir-
Contemporary American Songs
*
able relationships betweenmouth
High VoiceandLow Voice
*
and pharynx, and the retention of
articulatory accuracy in singing can
The Soldier tir'd of War's Alarms
*
only be accomplished by dynamic as .. ThomasAm. 1710-1778Soprano *
opposed to static postures of the This magnificent show piece is once again available, after being out of print
*
jaw.
for several years ......This aria has been recorded by both
Beverl y Sills and
their
*
To assume that a habitually low-
Dame Joan Sutherland and has appeared often onrecital programs....
ered jaw posture, as a means of "re- Songs by LACHNER - Voice and Piano
*
laxing" the jaw, is appropriate for with opt. French Horn or Cello
singing is to ignore both the struc-
ture and the acoustics of the singing
instrument.Emphasizingthe
Cove iSongs
*
lateral /circular loose movement of
the jaw provides a far more efficient
4 K Soprano, Cello and Piano
*
solution to jaw tension than does
James Mulholland
*
telling the student to hang the jaw. It
--- *
should be kept in mind that there is
THE BALLAD OF BABY DOE
*
no one ideal mouth position in sing-
ing: the vowel and the pitch deter-
' SILVER SONG
AUGUSTA'S ARIA
*
mine the shape of the mouth, and
therefore the position of the jaw.
LETTER SONG
Warm as the Autumn Light
*
Tabor'sLove Song
*
Each Aria Is Published Separately
*
REFERENCES
(in the original Vocal key)
*
Brodnitz, Friedrich (1971). Vocal Rehabilita-
tion: A Manual Prepared for the Use of
9
Available at Outstanding Music Stores Nationwide *
Graduates in Medicine,4th ed. Rochester
MN: American Academy of Ophthalmol-
ogy and Otolaryngology,
p.
97.
Frangipani
Marafioti, Mario (1922). Caruso's Method of
PressP.O. Box 669
*
Voice Production. New York: D. Appleton; -
reprint 1981, Dover,
p.
157.
Bloomington, Indiana 4 74 02 *
Vennard, William (1968), Singing: the tsfech-
anism and the Technic. 5th ed. New York:
Carl Fischer, p.1l8.
32
NOVEMBER/DECEMBER 1986