Emily F. McKinney Ch. 1

Emily F. McKinney Ch. 1: 

What are the 3 questions that McKinney asked teachers after playing each of the samples of faulty singing? (5) 1- What is wrong with the sound you're hearing? 2- What is causing it to sound that way? 3- What would you do about it if you were the teacher?

When does the diagnostic process begin? (11) The diagnostic process begins from the first time you see and interact with the person/patient. 

Define symptom. (11) A symptom is "any sensation or change in bodily function experienced by a patient that is associated with a particular disease."

What are the 3 basic techniques for gathering evidence? (12 or 15) 1-Informal observation of the patient 2- Self-evaluation 3- Systematic testing

Define diagnosis. (12) Diagnosis is a "thorough analysis of facts or problems in order to gain understanding and aid future planning."

What are the 3 fundamental questions a doctor must ask about each patient he examines? (12) 1-What are the symptoms? 2- What might be the causes? 3- What are possible remedies?

Upon what should the teacher’s tonal ideal be based? (13) The teacher's tonal idea should be based on the physical laws of sound and the tone qualities of artists against which to measure.

What are the components necessary to be able to communicate information to the student in a way that s/he will accept your analysis and want to make the desired changes? (12-13) 1-Knowledge of the voice and how it works 2- Ability to express oneself 3- Psychology skills (empathy, and ability to communicate faults gently)

Complete this quote (14)

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

Why is a systemic approach to diagnosing vocal faults important? (14) ?A systematic approach to diagnosing vocal faults is important because without it some faults may go unnoticed and uncorrected.

Complete these quotes (16)

“bad sounds and incorrect pitches which are not heard on the first hearing become increasingly less likely to be heard with each subsequent hearing.”

“the longer you teach a student without correcting a particular vocal fault the more inclined you are to accept it as an inborn characteristic of that person and leave it uncorrected.”

What are McKinney’s recommendations for the first hearing of a student? (16) Upon first hearing a student, the teacher should let the student sing through the whole song without correction or interruption, find something positive about the performance to comment on, do not make a list of the vocal faults, and try to make it a positive experience. 

What is the teacher’s plan of action? (17) The teacher's plan of action is to recognize the symptoms, determine causes, and devise cures for vocal faults.

What are the two types of clues? (17) Clues to vocal faults can be audible and visible. 

What does the teacher need in order to determine causes? (18) The teacher needs to know the vocal mechanism and the physics of sound to determine causes of vocal faults.

What does it mean to use empathy as a voice teacher?  Why is this a valuable tool? (18) Empathy for a voice teacher is to try to feel in her own voice the actions taking place in the student's voice. This is a quick way to identify a fault, and can help in making a clear, quick communication to the student about a cure for it. 

How do we develop the ability to devise cures for vocal faults?  (19)  We develop the ability to devise cures for vocal faults through knowledge and experience. A teacher should try multiple approaches and be persistent in the cures. 

Complete this quote (19)

“Do not begin to tolerate or accept the incorrect sound just because you have not been able to change it. Be resourceful; be creative; adapt your techniques; consult other teachers; keep searching until you find an answer.”