The Science & Psychology of Music Performance: Creative Strategies for Teaching and Learning

By Richard Parncutt; Gary E. McPherson | Go to book overview

16
Solo Voice
GRAHAM F. WELCH & JOHAN SUNDBERG

One of the principal challenges for the singer is to acquire an understanding of how to develop and maintain a particular set of culturally specific musical behaviors using an instrument that is not visible and in which the functional components change physically across the lifespan. The singer's instrument has three components. The respiratory system is responsible for variations in loudness; changes in the pattern and frequency of vocal fold vibration are perceived as variations in pitch and voice quality; and changes in the configuration of the vocal tract are linked to resonance and carrying power. Although often interrelated (particularly in the untrained vocalist), these three functional characteristics are susceptible through education to focused development and conscious control.

The ability to use the voice to express music through singing is a characteristic of all known musical cultures. Each culture tends to value particular vocal timbres in the performance of its art music, such as the vocal sounds commonly associated with classical opera in the West, with the throat music of Tuva, or with blues. These vocal timbres are a selection from a much wider potential variety, indicating the inherent plasticity of the human voice. So one of the central issues in any consideration of solo voice performance is the development and maintenance of a particular set of culturally specific behaviors that use an instrument that is not visible and in which the functional components change physically across the life span. This chapter will examine the basic design of the vocal instrument (its anatomy, physiology, and psychological correlates), its function in singing, and the pedagogical implications for both teachers and performers.

-253-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
The Science & Psychology of Music Performance: Creative Strategies for Teaching and Learning
Table of contents

Table of contents

  • Title Page *
  • Acknowledgments *
  • Contents vii
  • Introduction ix
  • References xi
  • Part I - The Developing Musician 1
  • 1 - Musical Potential 3
  • References *
  • 2 - Environmental Influences 17
  • References *
  • 3 - Motivation 31
  • References *
  • 4 - Performance Anxiety 47
  • References *
  • 5 - Brain Mechanisms 63
  • References *
  • 6 - Music Medicine 83
  • References *
  • Part II - Subskills of Music Performance 97
  • 7 - From Sound to Sign 99
  • References *
  • 8 - Improvisation 117
  • References *
  • 9 - Sight-Reading 135
  • References *
  • 10 - Practice 151
  • References *
  • 11 - Memory 167
  • References *
  • 12 - Intonation 183
  • References *
  • 13 - Structural Communication 199
  • References *
  • 14 - Emotional Communication 219
  • References *
  • 15 - Body Movement 237
  • References *
  • Part III - Instruments and Ensembles 251
  • 16 - Solo Voice 253
  • References *
  • 17 - Choir 269
  • References *
  • 18 - Piano 285
  • References *
  • 19 - String Instruments 303
  • References *
  • 20 - Wind Instruments 319
  • References *
  • 21 - Rehearsing and Conducting 335
  • References *
  • Contributors 353
  • Author Index 363
  • Subject Index 373
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 388

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.