The Human Nature of the Singing Voice: Exploring a Holistic Basis for Sound Teaching and Learning

258 Pages·2006·1.84 MB·English

by  Peter T Harrison

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Human beings have a deeply ingrained desire to sing, and the human voice has
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inspired composers to write some of their most beautiful music. But what is ‘the THE
E
true singing voice’? Why do some voices ‘work’ while others do not? How do we

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‘discover’ our singing voice, and how can singing teachers most effectively train their
pupils’ voices when it seems such a demanding individual and personal matter? U HUMAN
Peter Harrison starts from the holistic principle that human beings are ‘designed M
to sing’ and believes that through our voices we are able to communicate our A
collective as well as our individual humanity. In The Human Nature of the Singing N NATURE
Voice he offers a fresh and lively insight to the understanding of the voice with
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which we were born for those who seek a comprehensive and sustainable basis
A OF THE
for their work. In this major new exploration the author interrelates all aspects of
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singing, including breathing, emotional expression, the articulation of words and
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musical interpretation. He also outlines what can be expected of those responsible
R
SINGING
for teaching singers and of those eager to learn. E
Invaluable to teachers and singers, and of more than passing interest to all those
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who work with singers and care for their voices, The Human Nature of the Singing
F VOICE
Voice provides thought provoking ideas on how we can learn to liberate and enjoy
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our voice whilst offering practical advice for the proper maintenance of the voice in
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our daily life and professional work.
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Peter Harrison was Resident Professor and Director of Vocal Studies for the

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Estúdio de Ópera do Porto, Casa da Música, in Oporto, Portugal from 2000 until EXPLORING
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its closure at the end of 2006, since when he has been working as a freelance N
teacher in various European countries. Peter has been a member of the British G A HOLISTIC BASIS
Voice Association since its beginnings in 1986. I
N
FOR SOUND
● Harrison’s book is a fascinating exploration into the human voice. G
Musical Opinion
V TEACHING AND
● This thought provoking book ... I will keep it close to hand as an open dialogue for O
when I may feel jaded or complacent. LEARNING
I
British Voice Association C
E
● ... the practical, commonsense value of a book suitable for vocalists of all stripes.

Classic FM Magazine

H
A PETER T HARRISON
R
R
I
ISBN:1-903765-54-4 S
O
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9 781903 765548
Cover Photograph by Pedro Magalhâes dunedin academic press
dunedin academic press
Design by Mark Blackadder
The Human Nature of the Singing Voice
Born in 1946, Peter T Harrison began his musical training as a chorister at King’s
College Cambridge under the direction of David Willcocks. He went on to study
singing with Joy Mammen at the Royal Academy of Music, London, where later
he taught in her place for two years. He was a professor at the Guildhall School
of Music and Drama, and has given lessons and workshops in many parts of the
world. He has also conducted classes for singing teachers. In 1994, at the Third
International Congress of Voice Teachers, Peter was selected as one of seven ‘Master
Teachers’.
Peter Harrison was Resident Professor and Director of Vocal Studies for the
Estúdio de Ópera do Porto, Casa da Música, in Oporto, Portugal from 2000 until
its closure at the end of 2006, since when he has been working as a freelance
teacher in various European countries. Peter has been a member of the British
Voice Association since its beginnings in 1986.
The
Human Nature
of the Singing Voice
Exploring a Holistic Basis
for Sound Teaching and Learning
Peter T Harrison
Dunedin Academic Press
edinburgh
Published by
Dunedin Academic Press Ltd
Hudson House
8 Albany Street
Edinburgh EH1 3QB
Scotland
ISBN 10: 1 903765 54 4
ISBN 13: 978-1-903765-54-8
© Peter T Harrison 2006
First printed 2006, reprinted 2008
The right of Peter T Harrison to be identifi ed as the author of this book
has been asserted by him in accordance with sections 77 & 78 of the
Copyright, Designs and Patents Act 1988
All rights reserved.
No part of this publication may be reproduced or transmitted in any form or by
any means or stored in any retrieval system of any nature without prior written
permission, except for fair dealing under the Copyright, Designs and Patents
Act 1988 as amended or in accordance with a licence issued by the Copyright
Licensing Society in respect of photocopying or reprographic reproduction. Full
acknowledgment as to author, publisher and source must be given. Application for
permission for any other use of copyright material should be made in writing to
the publisher.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Typeset by Makar Publishing Production
Printed in Great Britain by Cromwell Press
To my children Giles and Claire
To the memory of John Riley-Schofi eld (1954–2005)
a pupil and friend who shared my passion for great singing
To all those still wondering

Contents
Preface xi
Acknowledgements xii
Illustration Credits xiv
PART I – Civilisation of the Human Voice
Chapter 1: Sounds of Life 3
Introduction – The primacy of the ear – Aural perception and the
voice – Musical, tonal and aural imagination – Hearing versus physical
or visual information – The natural vocal monitor
Chapter 2: Sounds Intelligible 11
Intelligent strangers – The need to voice our feelings – Hijacked voice
– Voicing text – Faulty speech transmission – The mind-body split –
Laryngeal collapse and support – The emotional connection – Passaggi
– Only for singing – Messa di voce
Chapter 3: The Stifl ed Cry 23
The repression of emotions – Self-revelation and the power of singing
– Emotional and vocal physiology – Demons, diamonds and guilt
Chapter 4: Bowing to Life 29
Posture and how the structure of the body suffers from neglect and
misuse – Self-determination and the human spirit – Reasons for not
giving the body due credit – Adverse effects of a sedentary life-style
Chapter 5: The Inspiration of Life 35
The relationship between the larynx and breathing – The experience
of breathing out and breathing in – The relationship of breathing
and singing – Breath control and management – The importance to
freedom of having a sense of scale
Chapter 6: Unavoidable Conclusions 46
Individual capacity – Vocal liberation and personal exposure – The
natural voice debate – Compensating for incapacity
vii
Contents
PART II – Sounding the Self
Chapter 7: Making Connections 55
Connecting uncoordinated spheres of vocal action – The importance
of antagonistic forces – Defi ning the singing voice in terms of its
structure – Redefi ning ‘support’ and legato
Chapter 8: Mixed Objectives 61
A unique instrument requiring unique treatment – The crucial
difference between vocal training and making music – How the two
activities can complement or confuse one another – The process of
un-mixing objectives
Chapter 9: Vocal Liberation 67
Towards a defi nition of vocal liberation – Healthy design and training
– An individual journey – Dedication and radical treatment – Tension
audible and invisible – Vocal athletics
Chapter 10: Training Ground 74
Larynx – Suspensory mechanism – Breathing apparatus – Diaphragm
– Posture
Chapter 11: Hearing Our Way 88
Outlines of an ‘aural picture’ – Mixed voice – The missing link –
Beginning the aural quest – Neutral throat as prerequisite – Portamento
– Breath and breathing – Energy, vibration and movement – Sounding
emotion – Vowels and ‘placing’ – Mimicry
Chapter 12: Trial and Error 103
The need for process – Creative tension – The spiral of work
– Imagination and perception – Tone sense – Imagery and hearing
– Hearing and physical sensation – The value of play – Voice fi rst
– Laughter – Gestures, movements and inner rhythm – Embodiment
of feelings – Progressing towards music – Improvisation of means
– Hearing versus thinking – Attention, distraction and confusion
– Sequences and starting points – Types of vocal sessions – Various
Italian terms
Chapter 13: Muscle Training and Fitness 129
Working with muscles – How to approach training exercises
Chapter 14: Singers’ Health 136
General health – Ingestion – Digestion – Weight – Water – Dryness
and the mucous membrane – Immunity – Breathing – Sleep – Stress
and worry – Talking
viii
Contents
Chapter 15: Gurus or Guides? (Teaching ) 142
Introduction – Responsibility – The teacher’s voice – Talent and
trainability – Relationship and trust – Communication – Healthy
criticism and evaluation – The voice rings true – Specialist knowledge
– Fresh beginnings – The ‘feel good’ factor – Barriers to progress
Chapter 16: A Clean Slate (Learning ) 156
A personal journey – Equipment – Technique – Scale and skills
– Tackling contemporary music – In between lessons – Living
rhythm – Hearing and other sensations – Seeking models of healthy
vocalisation – Six obstacles to liberating the singing voice – Posture
revisited – Assessing the teacher
PART III – The Communicating Imperative
Chapter 17: Attributes of the Liberated Voice 177
Introduction – The voice’s innate skill – Singing joyfully? – Some of
the qualities and characteristics of a liberated voice
Chapter 18: Attraction and Repulsion 187
The voice and communication – Projection – Sexuality and
communication – The listener – Emotional involvement
Chapter 19: Being Fully Prepared 194
Stage fright – Learning to perform without singing – Criticism –
Coping alone – Spontaneity – Learning, memorisation and preparation
Chapter 20: Going Deeper 207
The source of the singing voice – Before words – Musical authenticity
and the singing voice – The diminishing power of singing – The ethics
of performance
Chapter 21: The Ego and the Egoist 213
Self-esteem, sharing and creativity – The need for prima donnas
– Training for survival – Pigeon-holes and tessitura – Repertoire
– Specialisation and the authentic self
PART IV – Back and Beyond – Redefi ning Bel Canto
Chapter 22: Healthy Communication 221
Being naturally expressive – Heart and mind in sound – Being fully
alive – The simplicity of being – The vital present
ix