VOICECRAFT COMPARISONS
How does Voicecraft differ from traditional voice training?
ETHOS
Voicecraft considers that everyone can sing. Just like everyone
can run but some run more efficiently, gracefully or effectively than others,
singing like running is a skill that can receive training.
All voice users are equal. Everyone can learn to optimise
and maximise the health, quality and stamina of their voice irrespective
of their skill base or degree of talent or experience in the area of voicing.
Most people know that they could learn to use their voice more skilfully
although very few people have aspirations to become stars of the operatic
or recording world.. Very few people have aspirations to become stars
of the operatic or recording world. Voicecraft assists anyone who
wishes to connect with the joy and fulfilment that comes from communicating
vocally, efficiently, effectively, without self consciousness and with
a commitment to optimising the communication process. All voicing
can be improved by Voicecraft techniques. This applies to singing,
debating, acting, oratory, teaching, selling, preaching or any other use
of the voice. The same mechanism and the same techniques can be applied
to enhance every area of voicing. Legitimacy of all types of voicing
is ensured by Voicecraft. In different parts of the world, people
sing or use their voices in different ways. These are cultural differences.
Fashion often dictates the way singing is considered appropriate.
Voicecraft separates skill with the voice from aesthetics. Hence,
no one way of voicing takes precedence or is considered better than any
other.
Awareness is the critical factor in development of skill with
the voice. Traditionally, voice teaching concentrated on the student
perceiving the tone and using trial and error, attempting to replicate
what they heard. Often an image was given concerning the tone they
had heard or produced. In complete contrast to this, Voicecraft encourages
the student to arrange the parts, ie. the physiology such that the tone
that is required is the one produced. The student can both feel,
view with endoscopy and understand acoustically why the various parts of
the mechanism have to be positioned in certain ways to produce the required
tone. As the positioning happens from the basis of awareness and
before the tone is produced, the student experiences consistency from performance
to performance, from day to day, from one voice setting to another.
Differentiated control ensures skilful use of the mechanism.
There are multiple parameters of the larynx and vocal tract which can be
independently controlled Complex manoeuvres are readily acquired
through precise task analysis and the development of kinaesthetic and proprioceptive
awareness. Once the student is able to differentially control the
basic parameters, they move on to combine these choices to produce four
basic voice qualities. At a subsequent level of difficulty, they
master two more complex voice qualities and develop problem solving ability
and gain experience with applying their skill to various ways of voicing.
Finally, they learn how to systematically alter one parameter at a time
while maintaining a particular quality in order to produce multiple variations.
The choices are almost limitless and these choices are not governed by
aesthetic bias.
Breathing is de-emphasised. The essential element for breath
control is the posture of the larynx as the valve which controls the inflow
and release of the breath. Ensuring the appropriate posture
of the larynx ensures adequate breath, hence there are no specific breathing
exercises in Voicecraft training.
Effort, vitality or energy is required to maintain the
larynx and vocal tract in a specific posture to ensure efficient and healthy
voicing. Traditionally, voicing relied on the concept of relaxation.
Voicecraft de-emphasises relaxation, confining it to those muscle
groups which need to be relaxed in order for the appropriate muscles to
contract to shape the larynx and vocal tract.
Economics are a basic consideration. Traditional voice
training can take years as it combines skill with the mechanism with artistry
and performance issues. "Voicecraft", or mastery of the vocal instrument
can be learnt over one semester or intensively in one week although further
practice and a second exposure to the work are mandatory if precise skill
with the vocal mechanism is to be achieved. Additionally, performers are
required to have proficiency in all forms of voicing and singing.
The Voicecraft model ensures just such versatility.
Diction is of primary importance if the performer or speaker
is to be understood as well as heard. The acoustic requirements for
clarity of diction in large spaces as well as in the recording studio are
emphasised. Clarity is considered a separate issue from vocal power
and stamina.
An understanding of physiology, the physics of sound and perception
are necessary for the student of Voicecraft. A knowledge of repertoire,
artistic requirements, interpretation of text or singing experience are
unnecessary at the outset for the prospective student of Voicecraft.
Research both physiological, acoustic and perceptual is the foundation
of Voicecraft and hence, it is taught from a scientific base rather than
from an empirical experience or consensus. All Voicecraft techniques can
be explained in terms of the anatomy, physiology and acoustics hence, Voicecraft
has a scientific base which facilitates artistry, interpretation and aesthetic
performance.
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