PowerPoint Presentation

Selecting Appropriate Repertoire for Developing SingersDr. Marvin LatimerChair, Music Education Department

Dr. Susan WilliamsAssistant Professor of Voice

University of Alabama

Characterize These SongsYou are the only voice teacher that most of your students will ever have (Rene Clausen, c. 2008).Presumably, therefore, as with any voice teacher, one of the most important decisions you will make (on a fairly regular basis) involves the repertoire you ask our students to sing. Yet both research findings and anecdotal observations reveal that often choristers, especially in schools, are presented with voice parts that they shouldnt (or even cant) sing. PremiseAesthetics is a branch of philosophy dealing with the the creation and appreciation of beauty.Arguably, both music education in general and choral music education specifically, still suffer from the post Sputnik I Music Education as Aesthetic Education Movement.Music teacher training programs, which evidence a profusion of theoretical and historical course content, support that notion.AestheticsMusic educators, therefore, are trained to characterize songs in certain ways most often using specific aesthetically motivated criteria. For example:StructureCharacterTextureHarmonyFormRepertoire CharacterizationIt comes as little surprise, therefore, that research has shown music educators tend to select repertoire based primarily on musical/aesthetic constructs.For example, David Brunner, DCA at the University of Central Florida, suggests the following Directors Checklist:MelodyFormExpressive ContentHarmonyAccompanimentMEJ, Vol. 79, No. 1, Sept., 1992Repertoire SelectionBut what if we instead characterize songs that our students will sing in a way that more accurately addresses the demands that the song will place on them?Remember, vocal sound is simply an integration of larynx and breath function that creates expressive singing and speech.Our students must make (with their bodies) the sounds required by the specific song.

Paradigm ShiftMyo- means muscle; the vocal folds, after all, are mostly comprised of muscle tissue. The -elastic suffix serves to remind us that the vocal fold is elastic and that we have active control over its elastic properties. Aerodynamic means that the theory deals with the motion of air and other gaseous fluids, and with the forces active on bodies in motion (such as the vocal folds) in relation to such fluids.The bottom line is that we can conclude that at least some, and perhaps a great deal, of the singing process is muscular. Ingo Titze, National Center for Voice and Speech Myoelastic-Aerodynamic TheoryThere are many theories of vocal fold oscillation. This is still an area around which a lot of questions still exist; however, this theory can be explained in these steps: 1. Folds closed gently by muscular action in larynx, 2. Air pressure increases beneath the closed glottis, 3. This air pressure begins to open the glottis from beneath, 4. Glotttis continues to open, bottom to top, until air begins to escape, 5. As air begins to flow, velocity increases and pressure decreases (as explained by Bernoulli effect), 6. Elasticity of vocal folds acts somewhat like a spring, exerting a return force that begins to close the glottis, negative pressure (caused by Bernoulli effect) supplies additional closing force, 7. Glottis closes again, bottom to top, 8. As soon as glottis fully closes, process begins againrepeating as many times per second as the frequency of the pitch requires (A440, etc) A440 requires this 8 step process to occur 440 times in 1 second, over 1000x for high C!8Sound: A Quick ReviewPitch is the frequency of a sound as perceived by human ear. Quality of the sound is created by the fundamental pitch, which possesses the greatest amplitude, combined with overtones or harmonics. Articulation includes the sharpness of the attack, the amount of sustain, and the length of the decay.Loudness is a physiological sensation. It depends mainly on sound pressure but also on the spectrum of the harmonics and the physical duration.

Larynx growthVocal fold length growthHormonal changesBody changesRange changesRegister breaksCrackingBreathiness (mutational chink)

What Should We Expect (developmental)?

Naturally, we stay aware of the significant developmental occurrences during adolescence:

So many things in flux can leave students somewhat insecure due to the personal nature of the singing instrument being housed within the body. Plus, they are discovering who they are as people during this time as well. So anything we can do to help normalize these developments and boost self confidence is a plus. We should always keep in mind the delicacy of the instrument itself, irreplaceable, very small in size; adult female fold length is diameter of a dime, male, diameter of a quarter, so developing students cords are still smaller than this10Generally in tuneComfortable range (minimize extremes)Comfortable tessitura (avoid prolonged high or low)

What Should We Expect (pitch)?Women primarily A3 or C4 to G5 range taking care it doesnt hang on either end of their comfortable range for too longMen calling themselves baritone upper end around D or E-flat4, tenors upper end around G4 also taking care piece doesnt hang on upper or lower extremes for too longvery individualized depending on students maturation, natural coordination, whether theyve studied privately and for how long

Can certainly vocalize them to these points and even beyond, encouraging relaxed neck, jaw, tongue, but majority of performance selections should stay in comfortable range. 11Generally pleasant to listen toVibrato emergingHealthy tone (no hoarseness)Evenness throughout range (as much as possible)Clarity (some breathiness is expected)Warmth, roundness (space, reduce nasality)

What Should We Expect (quality)?Can be understoodHas had assistance with foreign language dictionClean onsets and offsets (no harsh glottals)As legato as possible

What Should We Expect (articulation)?Can be heardNot pushing or strainingEase of productionStaminaManaging breath over phrasesWhat Should We Expect (loudness)?14MusicalityDesire to communicateDo they like what they are singing?PreparationSelect repertoire earlyMemorize earlyNervesRepertoireClassical or traditional folk selectionsNot too ambitiousSimpler piece well done is more impressive than aria learned too soon

What Should We Expect (artistry)?15Sight singing (intervals, rhythm, solfege/numbers)Pitch recitation passagesKey signaturesTime signaturesChord quality recognition

What Should We Expect (aural skills)?Which brings us to how we can get them there (next 2 slides)? A couple of anatomical suggestions16

Keep AssessingAlignment17

Keep working with breath18

Janice Chapmans chapter order My pedagogical model working with a soloist

WASNT SURE WHERE WE SAID TO INSERT THIScan still leave it out as well. 19The analogy of the "vocal athlete" is commonly made when referring to professional voice users. Persons who use their voices extensively or who need highly detailed or exacting sounds place demands on their voice in much the same way as athletes place demands on their bodies. Although there is no bone in the larynx the muscles, cartilages, and ligaments act like those elsewhere in the body.Vocal Athletes20The notion behind VFE as described by Stemple and colleagues is this: It should be possible to treat laryngeal muscles just as any other muscles of the body are treated in physical fitness programs. That is, it should be possible to increase the bulk, strength, and coordinated interaction of laryngeal muscles through a program of systematic exercise.

Stemple, J.C., Lee, L., DAmico, B., & Pickup, B. (1994). Efficacy of vocal function exercises as a method of improving voice production. Journal of Voice, 8, 271-278.

Vocal Function Exercise (VFE)Nutrition Maintain a well-balanced diet that includes complex proteins, fruits, vegetables, and carbohydrates. Hydration Drinking water throughout the day and is crucial to prevent dehydration, electrolyte loss, and muscle fatigue.Endurance Improve your aerobic capacity. One way to improve your endurance is to gradually increase your workout expectations. Body Mechanics Use correct form when exercising. Rest/Recovery Complete a warm up and cool down for 5 to 10 minutes each time you exercise. Workouts Carefully choose workouts that are appropriate to your physical ability.

Muscle Fatigue and InjuryIf the repertoire is the stuff of the vocal workout, what specific musical attributes would you look for in each of the areas earlier discussed (you tell me)?PitchQualityArticulation LoudnessBack to RepertoireWhat attributes should choral songs possess to be ideal for developing young voices?Limited range requirementsLimited dynamic requirementsFosters a blending head voice tone concept Offers linearity in all parts Available in many voicingsCopious examples from which to selectArguably, early music (especially Renaissance music), folk song settings, some pop arrangements, and light vocal jazz arrangements are among the styles that are most singable for young voices.IdealAre there some genres of choral music that can ask too much of young singers? Extreme range requirementsExtreme dynamic requirementsEncourage one register (or high glottal) singing Lacks linearity in parts (repetitious and vocally taxing)You get the picture Arguably, some styles that we must be very careful of when programming for developing singers are opera choruses, musical comedy, large concerted works, most Romantic music, most rock music, some spirituals, some gospel music, some multi-cultural music.Less than IdealOrganize your ensembles by vocal skill level.Let each group make its own music-avoid combining with other groups.Include a variety of styles of music in every folder, but tend toward styles that encourage healthy vocal development. Sing more easy songs rather than singing fewer hard songs. Select songs that you can know all of the notes no later than half way through the rehearsal process.Let the students develop their singing voice. Dont tinker with it in order to suite a particular aesthetic.Do not give a student a part to sing if they cant sing ALL of the notes.

Marvins RulesI WillNorthwest High School MadrigalsMcCarney Arr. Roger Emerson/LennonKMEA 20032003iTunes 11.1.3Diffusa Est GratiaiTunes 11.1.3WSU Spring 2001Northwest High School Madrigals