Summary: Healthy voice use is somewhat dependent upon healthy hearing, and understanding of how the ear operates. In creating pitch, the lower the pitch, the less energy it requires to create the same decibel level. This explains why there are more lower pitched instruments in an ensemble than higher pitched instruments. This is one reason to not sing high notes too forcefully. Another is the way that you hear your own vocalization. A muscle in the ear, called the tensor tympani protects your own ears against loud sounds. That muscle is activated especially during the singing of high notes. Therefore, what may not sound loud enough to our own ears will be plenty loud for the audience. As a musician it is also important to protect your hearing against damage. Many locations in the urban environment can have dangerously loud noises, so it is important to protect your ears against damage.
Key Terms:
tensor tympani
auditory fatigue
diplacusis
Key Concepts: The hearing of our own singing can not always tell us the absolute truth. That is why we must trust other teachers and recordings as well as our own instincts in making judgments about our voice.
Making Connections: This chapter was very useful in helping me understand why I am mentally struggling with high D's. I think I will be able to relax into singing them more now (hopefully relax in an energized and good way.)
Sunday, December 1, 2013
Mariah OB 18
Mariah OB 18
Chapter Summary: There needs to be more intensity and energy for louder sounds than softer sounds. There also needs to be more intensity and energy for lower pitches than higher pitches. We can't hear ourselves like other people can. This is why when we sing high notes, we think they are soft even if they aren't. Our ears muscles can get tired if we expose them to loud or high-pitched sounds or sounds that last a long time. Singers need to decrease their exposure to noise and re-sensitize their ears and hearing. Singers and voice teacher should take hearing tests every now and then to check up on their hearing.
Key Concept: Lower pitches need more energy to be heard than higher pitches. Singers need to be especially careful with their hearing and avoid prolonged exposure to noise or loud or high-pitched sounds.
Key Terms: threshold of hearing, auditory fatigue, diplacusis
Making Connections: I need to be more careful with my hearing and make sure I am not being around loud noises too long. I probably should get a hearing test sometime since I have not had one in a long time.
Chapter Summary: There needs to be more intensity and energy for louder sounds than softer sounds. There also needs to be more intensity and energy for lower pitches than higher pitches. We can't hear ourselves like other people can. This is why when we sing high notes, we think they are soft even if they aren't. Our ears muscles can get tired if we expose them to loud or high-pitched sounds or sounds that last a long time. Singers need to decrease their exposure to noise and re-sensitize their ears and hearing. Singers and voice teacher should take hearing tests every now and then to check up on their hearing.
Key Concept: Lower pitches need more energy to be heard than higher pitches. Singers need to be especially careful with their hearing and avoid prolonged exposure to noise or loud or high-pitched sounds.
Key Terms: threshold of hearing, auditory fatigue, diplacusis
Making Connections: I need to be more careful with my hearing and make sure I am not being around loud noises too long. I probably should get a hearing test sometime since I have not had one in a long time.
Sarah Brenay - OB - Ch. 17
Summary: Brown discusses the brain functions used for singing. The brain has an incredible capacity to develop and grow. Our thoughts control our voices, so we need to first master out thoughts. The nervous system conveys our thoughts to our muscles to inspire physical reactions. Some responses are involuntary and some are voluntary. Singing uses both sides of the brain, which is why it's so cool. Many of the nerve fibers in the brain are used in singing.
Key Concepts: Understanding the way the brain works helps us understand the mental process of singing. Singing involves the entire body and brain. Think, let, trust.
Key Terms:
Voluntary impulse - processed by the thinking part of the brain
Involuntary impulse - aka autonomic nervous system, serves function without direct attention
Medulla Oblongata - carries out brain processes such as swallowing, breathing, talking, singing, heart rate and blood pressure
Hypothalamus - controls behaviors related to emotional states
Afferent Nerve Fiber - receives information from the body and conveys it to the brain or spinal chord
Efferent Nerve Fiber - carries signals from the brain or spinal chord to the body to carry out actions
Reflex Arc - aka conditioned reflex, when the brain has carried out an action so often that it is relegated to automatic responses, aka muscle memory
Atrophy - deterioration due to lack of use
Point of Saturation - a high amount of concentration resulting in a maximum number of nerve ending stimulations
Proprioception - a heightened awareness of the position, condition, and movement of the mechanisms in your body
X Vagus - The laryngeal nerve
Making Connections: This chapter had so much freaking information. That's why I did the bulk of my summary in term definitions. Although I am familiar with many of the concepts discussed, I really liked the way Brown connects everything back to singing. This chapter reaffirms how essential it is to think while singing. Thinking before phonation. Thinking to prepare your body for performance. Automating actions so that when performance comes, you don't NEED to think. Think. let. trust!
Key Concepts: Understanding the way the brain works helps us understand the mental process of singing. Singing involves the entire body and brain. Think, let, trust.
Key Terms:
Voluntary impulse - processed by the thinking part of the brain
Involuntary impulse - aka autonomic nervous system, serves function without direct attention
Medulla Oblongata - carries out brain processes such as swallowing, breathing, talking, singing, heart rate and blood pressure
Hypothalamus - controls behaviors related to emotional states
Afferent Nerve Fiber - receives information from the body and conveys it to the brain or spinal chord
Efferent Nerve Fiber - carries signals from the brain or spinal chord to the body to carry out actions
Reflex Arc - aka conditioned reflex, when the brain has carried out an action so often that it is relegated to automatic responses, aka muscle memory
Atrophy - deterioration due to lack of use
Point of Saturation - a high amount of concentration resulting in a maximum number of nerve ending stimulations
Proprioception - a heightened awareness of the position, condition, and movement of the mechanisms in your body
X Vagus - The laryngeal nerve
Making Connections: This chapter had so much freaking information. That's why I did the bulk of my summary in term definitions. Although I am familiar with many of the concepts discussed, I really liked the way Brown connects everything back to singing. This chapter reaffirms how essential it is to think while singing. Thinking before phonation. Thinking to prepare your body for performance. Automating actions so that when performance comes, you don't NEED to think. Think. let. trust!
Elizabeth Tait OB Ch. 17 Summary
Summary: Our voice responds to mental concepts that are transmitted to the vocal mechanism through a series of different nerves. These nerves are connected to different areas of the brain which accomplish different functions: the medulla oblongata is the center of involuntary actions such as swallowing, breathing, and involuntary cries. The hyptholamus relates to emotional states and behaviors. Axons take signals to the brain, and dendrites take them to the cells. If we ingrain a certain nervous communication enough times, it becomes part of a conditioned reflex, so we no longer need to use higher level thinking to accomplish the task. Some of the nerves that are related to vocalization are the facial nerve, the laryngeal nerve, and glossopharyngeal nerve. These nerves are interconnected to different aspect of the vocal mechanism, making clear why smiling improves quality of tone, or why a loose jaw encourages a loose tongue. As teachers, it's important to to be aware of the empathetic nervous system, which allows our nerves to "feel" the nervous activity in another person. It's a great way to teach. To be honest, I'm sure I missed a ton of information in this chapter, so I hoped I covered it all.
Key Terms
cell
nervous system
cortex
involuntary nervous system
spinal cord
medulla oblongata
hypothalamus
neuron
axons
dendrites
afferent nerve fiber
efferent nerve fiber
conditioned reflex
muscle fiber
nerve
point of saturation
proprioception
synapse
pre-phonatory inspiration
pre-phonatory set of the laryngeal muscles
kinesthetic senses
biofeedback
endocrine systems
laryngeal nerve (Vagus, comprised of superior branch and inferior branch)
glossopharyngeal nerve
facial nerve
sympathetic nervous system
empathetic nervous system
Key Concepts: All the nerves of the body affect singing in one way or another, whether through direct contact or sympathetic nervous system. Even the nerves of other people affect your own, through the empathetic nervous system. So singing is a holistic activity.
Making Connections: The most interesting concept of the chapter was the relation of the larynx to some many different aspects of the body. The same nerve that affects the larynx also affects the heart and stomach. The part of the brain that connects emotions is also connected to the larynx. Just fascinating how more and more I learn that singing is truly a mind, body, and spirit activity.
Key Terms
cell
nervous system
cortex
involuntary nervous system
spinal cord
medulla oblongata
hypothalamus
neuron
axons
dendrites
afferent nerve fiber
efferent nerve fiber
conditioned reflex
muscle fiber
nerve
point of saturation
proprioception
synapse
pre-phonatory inspiration
pre-phonatory set of the laryngeal muscles
kinesthetic senses
biofeedback
endocrine systems
laryngeal nerve (Vagus, comprised of superior branch and inferior branch)
glossopharyngeal nerve
facial nerve
sympathetic nervous system
empathetic nervous system
Key Concepts: All the nerves of the body affect singing in one way or another, whether through direct contact or sympathetic nervous system. Even the nerves of other people affect your own, through the empathetic nervous system. So singing is a holistic activity.
Making Connections: The most interesting concept of the chapter was the relation of the larynx to some many different aspects of the body. The same nerve that affects the larynx also affects the heart and stomach. The part of the brain that connects emotions is also connected to the larynx. Just fascinating how more and more I learn that singing is truly a mind, body, and spirit activity.
Mariah OB 17
Mariah OB 17
Chapter Summary: "The nervous system carries messages to the brain and from the brain back through your body to the proper organs and muscles for action." Nerves need to be used often to continue to function properly. Singing involves both hemispheres of the brain since speech comes from the left while music and emotions come from the right. Because of our sympathetic nervous system, our voice reacts to other physical sensations, such as an injury or tension. Our empathetic nervous system affects how our voice reacts to outward stimuli.
Key Concept: Nerves must be used frequently to stay healthy. After a lot of practice, conditional reflex can develop. Our singing voice reacts to both hemispheres of the brain, our past and outward stimuli.
Key Terms: voluntary and involuntary nervous systems, medulla oblongata, hypothalamus, neuron, axons, dendries, afferent and efferent nerve fibers, conditioned reflex, point of saturation, synapse, kinesthetic senses, biofeedback, endocrine system, hormones, laryngeal nerve, glossopharyngeal nerve, facial nerve, sympathetic nervous system, empathetic nervous system, slow-twitch motor units, fast-twitch motor units
Making Connections: I need to work on remembering how I feel physically when I sing well and try to memorize those sensations. I need to practice with the goal of conditional reflex.
Chapter Summary: "The nervous system carries messages to the brain and from the brain back through your body to the proper organs and muscles for action." Nerves need to be used often to continue to function properly. Singing involves both hemispheres of the brain since speech comes from the left while music and emotions come from the right. Because of our sympathetic nervous system, our voice reacts to other physical sensations, such as an injury or tension. Our empathetic nervous system affects how our voice reacts to outward stimuli.
Key Concept: Nerves must be used frequently to stay healthy. After a lot of practice, conditional reflex can develop. Our singing voice reacts to both hemispheres of the brain, our past and outward stimuli.
Key Terms: voluntary and involuntary nervous systems, medulla oblongata, hypothalamus, neuron, axons, dendries, afferent and efferent nerve fibers, conditioned reflex, point of saturation, synapse, kinesthetic senses, biofeedback, endocrine system, hormones, laryngeal nerve, glossopharyngeal nerve, facial nerve, sympathetic nervous system, empathetic nervous system, slow-twitch motor units, fast-twitch motor units
Making Connections: I need to work on remembering how I feel physically when I sing well and try to memorize those sensations. I need to practice with the goal of conditional reflex.
Elizabeth Tait OB Ch. 16 Summary
Summary: "The more you understand the anatomy and physiology of voice production, the better equipped you will be to sing or to teach singing." There are nine functions of the vocal folds, only one being voluntary phonation for communication. The reflexive functions of the vocal mechanism is one indicator that explains why it "has been described as the most complex and versatile mechanical device in the body." The principle framework of the larynx is comprised of the cricoid, arytenoid, and thyroid cartilages. These three pieces are suspended from the hyoid bone, which creates the top barrier of the larynx. There are a lot of freaking muscles in there that do a lot of things, some which I will attempt to successfully explain now:
Thyroarytenoid muscle: They are the two vocal folds, and they can both contract (which shorten and thickens the folds), and relax (which stretches the folds.)
Posterior Cricoarytenoid muscles: Connecting the posterior surface of the cricoid and the posterior arytenoids, these muscles abduct the vocal folds
Lateral Cricoarytenoid muscles: Connecting the upper cricoid and the anterior arytenoids, these muscles adduct the vocal folds.
Interarytenoids: Connecting the two arytenoids both transversely and obliquely, these muscles close the posterior portion of the vocal folds ("chink").
Cricothyroid muscle: Connecting the cricoid and thryroid, these muscles have two parts, the pars recta and pars obliqua. The pars recta approximates anterior thyroid and cricoid, which elongates and tenses the vocal folds. The pars obliqua pulls the thyroid anteriorally, which further stretches the folds.
There are a great number of extrinsic muscles that connect the shoulders, tongue, jaw, and other stuff to the hyoid bone. I won't go into detail about them all, but the principle is that freedom of extrinsic muscles allows for freer phonation in the larynx.
Key Terms (there are many)
9 functions of vocal folds:
respiratory
valvular
fixative
protective
deglutitory
tussive
expectorative
emotional
phonatory
Framework of Larynx is already listed above, along with intrinsic muscles...
Extrinsic muscles:
sternohyoid, sternothyroid, omohyoid, thyrohyoid, digastric, stylohyoid, geniohyoid, genioglossus, hyoglossus, mylohyoid.
Key Concepts: There is a freaking large quantity of muscles associate with phonation. Don't be so prideful as to think you can control them all! Just get out of the way.
Making Connections: It especially interested me that there are more muscles that naturally raise the larynx than those that lower the larynx. So lowering the larynx is more something we don't do rather than do. That is especially interesting in light of my research project for Dr. Scheer's class, which seems to be revealing that low larynx was not a principle of singing until the 19th century.
Thyroarytenoid muscle: They are the two vocal folds, and they can both contract (which shorten and thickens the folds), and relax (which stretches the folds.)
Posterior Cricoarytenoid muscles: Connecting the posterior surface of the cricoid and the posterior arytenoids, these muscles abduct the vocal folds
Lateral Cricoarytenoid muscles: Connecting the upper cricoid and the anterior arytenoids, these muscles adduct the vocal folds.
Interarytenoids: Connecting the two arytenoids both transversely and obliquely, these muscles close the posterior portion of the vocal folds ("chink").
Cricothyroid muscle: Connecting the cricoid and thryroid, these muscles have two parts, the pars recta and pars obliqua. The pars recta approximates anterior thyroid and cricoid, which elongates and tenses the vocal folds. The pars obliqua pulls the thyroid anteriorally, which further stretches the folds.
There are a great number of extrinsic muscles that connect the shoulders, tongue, jaw, and other stuff to the hyoid bone. I won't go into detail about them all, but the principle is that freedom of extrinsic muscles allows for freer phonation in the larynx.
Key Terms (there are many)
9 functions of vocal folds:
respiratory
valvular
fixative
protective
deglutitory
tussive
expectorative
emotional
phonatory
Framework of Larynx is already listed above, along with intrinsic muscles...
Extrinsic muscles:
sternohyoid, sternothyroid, omohyoid, thyrohyoid, digastric, stylohyoid, geniohyoid, genioglossus, hyoglossus, mylohyoid.
Key Concepts: There is a freaking large quantity of muscles associate with phonation. Don't be so prideful as to think you can control them all! Just get out of the way.
Making Connections: It especially interested me that there are more muscles that naturally raise the larynx than those that lower the larynx. So lowering the larynx is more something we don't do rather than do. That is especially interesting in light of my research project for Dr. Scheer's class, which seems to be revealing that low larynx was not a principle of singing until the 19th century.
Mariah OB 16
Mariah OB 16
Chapter Summary: The nine functions of the vocal folds are respiratory, valvular, fixative, protective, deglutitory, tussive,expectorative, emotional and phonatory. The four main parts of the laryngeal framework are the cricoid cartilage, the two arytenoid cartilages, the thyroid cartilage, and the hyoid bone. The five muscles that only attach to the larynx (intrinsic muscles) are the thyroarytenoid, posterior cricoarytenoids, lateral cricoarytenoids, interarytenoids, and the cricothyroid muscles. The thyroarytenoid muscles are the deepest part of the vocal folds. The extrinsic laryngeal muscles include the sternohyoid, sternothyroid, omohyoid, thyrohyoid, digastric, stylohyoid, geniohyoid, genioglossus, hyoglossus, and the mylohyoid muscles. The sternohyoid and sternothyroid muscles help stabilize the larynx.
Key Concepts: Many parts and muscles work together to allow us to sing. We need to free these muscles to allow for free singing.
Key Terms: 9 functions of vocal folds, laryngeal framework, intrinsic and extrinsic laryngeal muscles, release
Making Connections: I need to work on keeping my neck, shoulder and jaw muscles relaxed to help me sing more freely. Tense muscles can affect the position of the larynx. I need to release and trust.
Chapter Summary: The nine functions of the vocal folds are respiratory, valvular, fixative, protective, deglutitory, tussive,expectorative, emotional and phonatory. The four main parts of the laryngeal framework are the cricoid cartilage, the two arytenoid cartilages, the thyroid cartilage, and the hyoid bone. The five muscles that only attach to the larynx (intrinsic muscles) are the thyroarytenoid, posterior cricoarytenoids, lateral cricoarytenoids, interarytenoids, and the cricothyroid muscles. The thyroarytenoid muscles are the deepest part of the vocal folds. The extrinsic laryngeal muscles include the sternohyoid, sternothyroid, omohyoid, thyrohyoid, digastric, stylohyoid, geniohyoid, genioglossus, hyoglossus, and the mylohyoid muscles. The sternohyoid and sternothyroid muscles help stabilize the larynx.
Key Concepts: Many parts and muscles work together to allow us to sing. We need to free these muscles to allow for free singing.
Key Terms: 9 functions of vocal folds, laryngeal framework, intrinsic and extrinsic laryngeal muscles, release
Making Connections: I need to work on keeping my neck, shoulder and jaw muscles relaxed to help me sing more freely. Tense muscles can affect the position of the larynx. I need to release and trust.
Elizabeth Tait OB Ch. 15 Summary
Summary: Understanding the basic scientific principles surrounding sound production enhances the well-rounded singer. Frequency is the scientific equivalent to the musical term pitch. Decibel is the scientific measurement for the volume of a frequency. As the frequency increases, the decibel level does as well. Therefore there is no need to use greater energy or force to sing high pitches; the laws of nature make those pitches loud all on their own. The Bernoulli effect states that moving air has less pressure than stationary air. The Venturi effect states that pressure of a flowing substance is inversely related to the size of the opening. Knowledge of these two principles tell us ways in which air and glottal opening affect pressure in the vocal mechanism. Resonance is the "intensification and enriching of a musical tone by supplementary vibration." And if there is more resonant surface area, the greater the decibel level of the tone produced.
Key Terms
beat phenomenon
resonance
sympathetic vibration
Venturi effect
intensity
decibel
Bernoulli effect
frequency
pitch
sound
Key Concepts: A greater understanding of the scientific production of sound is not a primary tool for improving singing, but it is of great benefit to help understand the images singers use to guide them in vocal production.
Making Connections: I'm not sure that I completely understand the Bernoulli effect. And if I do actually understand it, I'm not sure that I understand it's application to singing.
Key Terms
beat phenomenon
resonance
sympathetic vibration
Venturi effect
intensity
decibel
Bernoulli effect
frequency
pitch
sound
Key Concepts: A greater understanding of the scientific production of sound is not a primary tool for improving singing, but it is of great benefit to help understand the images singers use to guide them in vocal production.
Making Connections: I'm not sure that I completely understand the Bernoulli effect. And if I do actually understand it, I'm not sure that I understand it's application to singing.
Elizabeth Tait OB Ch. 14 Summary
Summary: Both the vocal teacher and choral director both have the responsibility to care for the voices of whom they teach. Choral directors are often the only singing teacher that their choristers will ever have, so it is important to be competent in understanding the voice. When choosing voices for the choir, what is best for the individual is paramount. Without this priority, the voices in the choral ensemble will not be able to perform their best. At least a 10-15 minute warm up at the beginning of rehearsal will also enable the singers to perform their best. The muscles involved in singing are not truly warm until 20 minutes into the activity at hand. These warm ups should encourage men and women to have easy access to both Register 2 and 3 in their ranges.
In rehearsing, thinking, not singing, is most likely the most important element. Vocal capital and time will be wasted if the singers are just vocalizing without thinking. Having the entire choir think sing a piece, and pointing to sections to sing out loud is one effective way to achieve this theory. In general, the more thinking and less singing the choral ensemble does in rehearsal, the better (within reason, of course.)
Intonation is a common problem in the choral ensemble, and this is generally due to the 3rd, 6th and 7th of the chord. If these members are not on the high side of the pitch, there is danger in pulling down the entire ensemble.
Key Terms
equal temperament
just intonation
Pythagorean/well-tempered tuning
Key Concepts: The choral director must understand the voice as well, or even better, than the private voice teacher. An understanding of how to properly exercise the voice can create a much more positive and efficient choral rehearsal experience.
Making Connections: I loved this chapter! It gave many rehearsals ideas that I had never heard of before, and I'm really excited to try them out. My favorite ideas were the rehearsal concepts that focused on thinking the music instead of singing it. I've noticed with the high schoolers I've worked with at Mountain Crest HS this semester, more thinking is exactly what they need, especially in terms of interval identification.
In rehearsing, thinking, not singing, is most likely the most important element. Vocal capital and time will be wasted if the singers are just vocalizing without thinking. Having the entire choir think sing a piece, and pointing to sections to sing out loud is one effective way to achieve this theory. In general, the more thinking and less singing the choral ensemble does in rehearsal, the better (within reason, of course.)
Intonation is a common problem in the choral ensemble, and this is generally due to the 3rd, 6th and 7th of the chord. If these members are not on the high side of the pitch, there is danger in pulling down the entire ensemble.
Key Terms
equal temperament
just intonation
Pythagorean/well-tempered tuning
Key Concepts: The choral director must understand the voice as well, or even better, than the private voice teacher. An understanding of how to properly exercise the voice can create a much more positive and efficient choral rehearsal experience.
Making Connections: I loved this chapter! It gave many rehearsals ideas that I had never heard of before, and I'm really excited to try them out. My favorite ideas were the rehearsal concepts that focused on thinking the music instead of singing it. I've noticed with the high schoolers I've worked with at Mountain Crest HS this semester, more thinking is exactly what they need, especially in terms of interval identification.
Elizabeth Tait OB Ch. 13 Summary
Summary: Having a career as a classical singer requires much more than solid vocal technique. In fact, some would say that vocal talent is only 20% of the required skill set. Some of these other traits include:
Flair and Poise: self-confidence
Interpretive Ability: "a strong imagination and the ability to project a story"
Musicianship and musicality: nuances!
Physical Appearance: not only good looks, but good carriage.
Stage Personality: "I belong here."
Ability to Handle People On and Off Stage: "A strong feeling that everyone is a friend."
Basic Repertoire: knowing 6-8 roles in opera and oratorio is a minimum.
Reliability and Dependability: Be alert, prepared, and punctual
Experience: Sing everywhere you can
Love for the Art: A compulsion to sing is the driving force that will get you through the hard times
Physical and Emotional Health: "Artists can't have confidence in themselves if their health is not robust."
Efficient Management and Publicity: "Good management will help you develop your strengths and correct your weaknesses."
Timing: You can control this. Only take gigs that you feel fit you well.
Having these factors in mind, you audition with the idea that you can only present your best self, and you cannot control what others think of you. A performing career is a difficult one, but it is made no less difficult by ignoring the hard facts.
Key Concepts: An artist must be concerned with their entire being, not just with their vocal skill. Having a career as an operatic performer is a very challenging life, but a clear head, friendly personality, and disciplined attitude can help.
Making Connections: This chapter made is very clear that the adage, "Those who can't, teach," is very much false. It seems that performing is not just a venue for the very best musicians, but for those whose personality fits the job description and lifestyle. This chapter helped me get a better inside look into myself, to see if my personality fits the bill....I'm not sure yet, but I'm figuring it out.
Flair and Poise: self-confidence
Interpretive Ability: "a strong imagination and the ability to project a story"
Musicianship and musicality: nuances!
Physical Appearance: not only good looks, but good carriage.
Stage Personality: "I belong here."
Ability to Handle People On and Off Stage: "A strong feeling that everyone is a friend."
Basic Repertoire: knowing 6-8 roles in opera and oratorio is a minimum.
Reliability and Dependability: Be alert, prepared, and punctual
Experience: Sing everywhere you can
Love for the Art: A compulsion to sing is the driving force that will get you through the hard times
Physical and Emotional Health: "Artists can't have confidence in themselves if their health is not robust."
Efficient Management and Publicity: "Good management will help you develop your strengths and correct your weaknesses."
Timing: You can control this. Only take gigs that you feel fit you well.
Having these factors in mind, you audition with the idea that you can only present your best self, and you cannot control what others think of you. A performing career is a difficult one, but it is made no less difficult by ignoring the hard facts.
Key Concepts: An artist must be concerned with their entire being, not just with their vocal skill. Having a career as an operatic performer is a very challenging life, but a clear head, friendly personality, and disciplined attitude can help.
Making Connections: This chapter made is very clear that the adage, "Those who can't, teach," is very much false. It seems that performing is not just a venue for the very best musicians, but for those whose personality fits the job description and lifestyle. This chapter helped me get a better inside look into myself, to see if my personality fits the bill....I'm not sure yet, but I'm figuring it out.
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