VOICECRAFT COMPARISONSHow does Voicecraft differ from traditional voice training?
ETHOS
Voicecraft considers that everyone can sing. Just like everyonecan 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 optimiseand maximise the health, quality and stamina of their voice irrespectiveof 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 skilfullyalthough very few people have aspirations to become stars of the operaticor recording world. Very few people have aspirations to become starsof the operatic or recording world. Voicecraft assists anyone whowishes to connect with the joy and fulfilment that comes from communicatingvocally, efficiently, effectively, without self consciousness and witha commitment to optimising the communication process. All voicingcan be improved by Voicecraft techniques. This applies to singing,debating, acting, oratory, teaching, selling, preaching or any other useof the voice. The same mechanism and the same techniques can be appliedto enhance every area of voicing. Legitimacy of all types of voicingis ensured by Voicecraft. In different parts of the world, peoplesing 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 anyother.
Awareness is the critical factor in development of skill withthe voice. Traditionally, voice teaching concentrated on the studentperceiving the tone and using trial and error, attempting to replicatewhat they heard. Often an image was given concerning the tone theyhad heard or produced. In complete contrast to this, Voicecraft encouragesthe student to arrange the parts, ie. the physiology such that the tonethat is required is the one produced. The student can both feel,view with endoscopy and understand acoustically why the various parts ofthe mechanism have to be positioned in certain ways to produce the requiredtone. As the positioning happens from the basis of awareness andbefore the tone is produced, the student experiences consistency from performanceto 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 beindependently controlled Complex manoeuvres are readily acquiredthrough precise task analysis and the development of kinaesthetic and proprioceptiveawareness. Once the student is able to differentially control thebasic parameters, they move on to combine these choices to produce fourbasic voice qualities. At a subsequent level of difficulty, theymaster two more complex voice qualities and develop problem solving abilityand gain experience with applying their skill to various ways of voicing. Finally, they learn how to systematically alter one parameter at a timewhile maintaining a particular quality in order to produce multiple variations. The choices are almost limitless and these choices are not governed byaesthetic bias.
Breathing is de-emphasised. The essential element for breathcontrol is the posture of the larynx as the valve which controls the inflowand release of the breath. Ensuring the appropriate postureof the larynx ensures adequate breath, hence there are no specific breathingexercises in Voicecraft training.
Effort, vitality or energy is required to maintain thelarynx and vocal tract in a specific posture to ensure efficient and healthyvoicing. Traditionally, voicing relied on the concept of relaxation.
Voicecraft de-emphasises relaxation, confining it to those musclegroups which need to be relaxed in order for the appropriate muscles tocontract to shape the larynx and vocal tract.
Economics are a basic consideration. Traditional voicetraining can take years as it combines skill with the mechanism with artistryand performance issues. "Voicecraft", or mastery of the vocal instrumentcan be learnt over one semester or intensively in one week although furtherpractice and a second exposure to the work are mandatory if precise skillwith the vocal mechanism is to be achieved. Additionally, performers arerequired 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 speakeris to be understood as well as heard. The acoustic requirements forclarity of diction in large spaces as well as in the recording studio areemphasised. Clarity is considered a separate issue from vocal powerand stamina.
An understanding of physiology, the physics of sound and perceptionare necessary for the student of Voicecraft. A knowledge of repertoire,artistic requirements, interpretation of text or singing experience areunnecessary at the outset for the prospective student of Voicecraft.
Research both physiological, acoustic and perceptual is the foundationof Voicecraft and hence, it is taught from a scientific base rather thanfrom an empirical experience or consensus. All Voicecraft techniques canbe explained in terms of the anatomy, physiology and acoustics hence, Voicecrafthas a scientific base which facilitates artistry, interpretation and aestheticperformance.
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