Laura B. SS Chapter 1

Chapter Summary: Most of us are born with the basic instincts to breath and make sound. In a singer, sound is produced first through being generated through airflow, which then vibrates in the larynx (in particular the vocal folds), and resonates through the mouth, pharynx, and nasal cavities. Resonance is not something that we create. Instead, it happens through a series of vibrations. When we learn how to phonate efficiently and train our air to flow freely, the sound will be able to more fully resonant. Often times, people get so stuck in the mechanics of singing and forget the human experience of the art. We must not only know what happens when we sing, but be able to create it within us. We must approach singing in a wholistic manner, focusing on we should do to sing healthy and correctly instead of focusing on what we are doing wrong. When we look at the roots of our problems instead of trying to find a treatment for the symptoms, we will be able to make more long-lasting changes in our voice. We will be able to generalize the things we learn to many aspects of singing instead of just fixing one problem. It is important to evaluate the way that we sing. However, all of the preparation should be done before the performance. If we evaluate while performing, the performance will be negatively effected and seem less real. After our performance, we then evaluate how it went and figure out what needs to be practiced in order to improve for the next performance. The quality of our singing really comes down to the work that we put into it. Even if we have strong vocal chords, we will never be able to be an extraordinary singer unless we learn how to effectively use our instruments.
Key Concepts: "There are differences between instruments, but the more important difference is in how people use their instrument."
Key Terms: basic instincts, breathing, sound, generator, vibrator, resonator (also primary and secondary resonators), phonation, Bernoulli effect, abduction and adduction, pharynx, nasal cavities, placement, singer's dilemma, wholistic approach, conventional vs. holism, Gestalt theory, temporary fix, technique, Stradivarius violins, self-actualization
Making Connections: I learned so much from this chapter! I realized how negative I tend to be on myself, and I often look for solutions to single problems while singing. I am going to concentrate more on finding the root of evil instead of just chopping at the branches! I also need to make sure that I fully am evaluating my singing before and after the performance and not during, which I sometimes tend to do.