Amber D. McKinney Chapter 1

Amber D. -McKinney Chapter one study question answers

Three things asked of teachers after playing examples

1.       What is wrong with the sound that you are hearing?

2.       What do you think is causing it?

3.       What would you do about it as a teacher?

Then diagnostic process begins the moment the subject enters the room.

A symptom is “any sensation or change in bodily function experienced by a patient that is associated with a particular disease.”

Three basic techniques for gathering evidence

1.       Informal observation

2.       Self-evaluation by the patient

3.       Systematic testing by the doctor

Diagnosis: Thorough analysis of facts or problems in order to gain understanding and aid future planning.

Three fundamental questions a doctor must ask:

1.       What are the symptoms?

2.       What are the causes of the symptoms

3.       What are possible remedies

A teacher’s tonal ideal should be based on the physical laws of sound and the tone quality of artist performers.

Three necessary components for effectively communicating with a student are:

1.       Comprehensive knowledge of the vocal mechanism and how it works.

2.       Ability to express yourself in terms the student can understand.

3.       Some of the skills of a master psychologist.

“Each student is an individual and must be allowed to seek vocal truth for himself under your guidance.”

-some faults will go unnoticed and uncorrected

Finishing quotes

-          “become increasingly less likely to be heard with each subsequent hearing

-          “the more inclined you are to accept it as an inborn characteristic of that person and leave it uncorrected.

Upon the first hearing of a student, they need to be allowed to sing through the whole song without being stopped for suggestions or corrections.

The teacher’s plan of action is to recognize symptoms, determine causes, and devise cures.

Two types of clues are: audible ones and visible ones.

In order to determine causes, the teacher will need to be intimately acquainted with the vocal mechanism and with the physics of sound.

To use empathy as a voice teacher means to try and feel foe yourself in your own mechanism what is going in inside the student in order to help determine what is going ion that is causing the discrepancy in sound from the one you want. This is a valuable tool for figuring out what needs to be done, or undone in the student’s mechanism (or approach) to correct the fault that is happening.\

The ability to devise cures for vocal faults comes mainly from applied knowledge and gained experience.

“Be resourceful; be creative; adapt your techniques; consult other teachers; keep searching until you find the answer.”