Shalayna G. DYV 13

Chapter Summary: Having talent will only take you so far in a professional career. Not only do we need to have technique, but we must also be workable. Your talent will get you there but your character will keep you there. Because this field takes time to develop and grow, we must always possess inner drive. Some strives for getting and keeping success include, keeping up on repertoire, always being prepared, and reliability and dependability.  We should never avoid where we are at as learners so that we do not throw ourselves beyond our capabilities.

Key Concept: Integrity, humility, and character supersede talent.

Key Terms: Hyperfuction

Connection: I always try to remember why I am singer. Almost every semester I’ve been at Utah State I said I was going to change my major but I am in love with singing and it is my purpose in life. At the same time, I continue to grow. I understand that my love for singing must match up to the work I put into it. How I carry myself as an individual will always reflect on my sound.

Shalayna G. DYV 12

Chapter Summary: Your voice knows how to sing better than you do. Once one has gone through the steps of learning, singing should feel like a second nature. It is our jobs as singers and performers to make the music come alive through authentic interpretations.  In order to get acquainted with interpreting a piece, we must understand the time that goes into it. Knowing the meaning of the words is important, but understanding how those words need to be said are much more efficient when performing a piece.  The audience listens with their ears and eyes; therefore, all five parts of our instruments must be intact (mind, emotions, body, face and voice).  We should never take what we are saying to our audience for granted; there must be purpose in our delivery.

Key Concept: Take the time to know what you are saying and what message needs to be conveyed to the audience.

Key Terms: interpretation

Connection: Memorizing takes much more than just knowing; it takes understanding. I think even though we have not lived enough to connect with some of the situations we sing about, we still have that human connection and sympathy that we can tape into, more or less of, “if that were me, I would feel…” My favorite line in this chapter was, “Always treat words with respect, for they are not yours. You are merely the vehicle for presenting them to the audience (p.137).”  I loved this quote because it put my duty as a singer into prospective.

Shalayna G DYV 11

Chapter Summary: All singers must practice! Practicing needs to be just as important as brushing your teeth or washing your face. Some principles of practice include, knowing that your whole body is your instrument, awareness of breathing, being true to your practice (because you and everyone else will know otherwise), being patient with repetition in learning, short practices over a long period of time, and finally, knowing and filling in the gaps. The elements of learning music must be mastered in your mind. One can save hours by taking apart the piece and studying in increments. We must master the sections of a work first that will later complete the whole. Mental preparation will allow your voice to respond to whats in your mind. We are all unique hence why those qualities should be explored.

Key Concept: Practice should be done in a step-by-step motion. We learn one section at a time to complete the whole

Key Terms: Vocal Hygiene, mental preparation

Connection: This chapter made me really put into perspective how much patience and accurate time it takes to learn the beauty of art and music. I think often times I want to skip these steps and reach for the fruits that are not yet ripe. I must have patience with myself.

Luke Shepherd OB Chapter 14

Chapter Summary: Choral directors need to be accountable for the voices in their ensembles and act as voice teachers on a large scale. Many of the singers in a chorus, especially community or local groups, won't have had voice lessons, so singing in a choir is the ONLY voice training most people get. A choral director should be very considerate of the individual voices in the choir and should audition or listen to the voices individually to assess and know them in order to help them be effective. This also means the warm-ups and vocalises should be a hugely important part of rehearsal, because a choral director is giving a voice lesson on a large scale. Like all athletes know, muscles reach peak efficiency after a short period of use. Using our voice is the same! Also warm-ups are key teaching moments for the choral director to achieve the sound and style they want for the choir. Repertoire can make or break a mediocre or otherwise fantastic group. The level of the group must be at the forefront of a choral conductors mind as well in choosing rep and in most effective rehearsal techniques.
Key Concept: Choral singing is a different challenge than solo singing, but so many of the same principles apply. A good choral rehearsal is like a good voice lesson with 100 people at the same time.
Key Terms:
Making Connections: Since this is my chosen field about which I'm very passionate I appreciate particularly a lot of what he said in this chapter. I believe very strongly in the importance of the warm-up for developing the voices in the choir as well as preparing them to sing specific repertoire. There is never a case when I think the warm-up should be glossed over, especially when working with younger singers. As I look to teach at the secondary education level very soon I am very aware of this and want to take great care of the voices I will be instructing.

Elizabeth Tait OB Ch. 10 Summary

Summary: This chapter the issue of making vowel and consonant sounds work together to create language.  Language is shape, specifically the shape of jaw, tongue, lips, soft palate, and pharynx.  The manner in which these articulators interrupt the airflow is the creation of consonants.  Vowels are defined by the shape of the airflow, and are either more defined by tongue or by lips.  The articulators are connected to the muscles of the larynx through the hyoid bone, so it is our duty as singers to separate the function of the larynx and articulators as much as possible.  Oren then includes a series of exercises that encourage proper vowel formation.  Dipthongs, two vowel sounds in one syllable, require a prolongation of the stressed vowel, and a glide through the unstressed vowel.  After vowel is creating properly, consonants are added.  Consonants should be created at the anterior portion of the mouth, while vowels are formed in the posterior.  Vowel sounds fall on the beat, so therefore consonant sounds come directly before the beat.  As we ascend in pitch, it becomes necessary for the vowel to modify.  The best way to accomplish this is to not modify it yourself, but allow the vowel to change as it needs. 
Key Terms:
vowel formant
consonant (voiced and unvoiced)
phonemes
vowel triangle
dipthongs
cognate
vowel modification
vowel alignment
Key Concepts: Independence is the main theme I got from the chapter.  You want your consonants to independent of your vowels, and both of those to be independent of the larynx.  
Making Connections: So that's where Cindy got "God Bless America" from... haha
 

Luke Shepherd OB Chapter 13

Chapter Summary: Evident from this chapter talent, even really exceptional talent, doesn't equate to success or a professional career. It takes far more than talent (that means years and years of vocal training, deep practice, and becoming masterful doesn't mean you will have a career). Technique can be taught, good health can be maintained, but there are so many other factors that vary from person to person. Flair and poise on stage is huge, and a socially awkward or uninteresting person oftentimes makes for an awkward and uninteresting performer. Physical appearance is what you're born with-the gene pool. Sure you can lose/gain weight with varying degrees of control, and there is plastic surgery, but you are who you are and you have the body you have. However, you can control what you wear and how you wear it, you can develop good posture. Your physical appearance plays a HUGE role when being cast in a show and even considered for certain roles. You may vocally be there but if you don't look the part you won't be considered for the role. Sure you can learn a bit about stage personality but so much of it needs to come from an already established foundation of confidence or guts. Be reliable and dependable, be personable, show up on time to rehearsal and be attentive. Always come prepared. Knowing how to audition and perform is huge and how to carry yourself confidently and not arrogantly or embarrassed. Above all, you gotta love it. 
Key Concept: Talent doesn't make you successful alone. Talent is just expected. It's about everything else you bring to the table.
Key Terms:
Making Connections: Physical appearance greatly affects the way I have viewed people in auditions. They may have sang really well but I was distracted by what they were wearing or how 'wrong' they looked for whatever role they were auditioning for. It makes a big difference! After being on the other side of the coin I can testify that if you don't look great or right than you won't sound great or right to the auditioners.

Mariah OB 14

Mariah OB 14
Chapter Summary: Conductors need to be sensitive about what musical selections are appropriate for their choir. If they choose something too difficult, many singers voices can be strained and grow tired. Conductors should always begin the rehearsal with a warm-up or have the singers warm-up before coming. Also, conductors need to encourage students to "feel what they are doing rather than listen for it" to help blending different voices. Choirs also need to focus on the meaning of the text just as much as a soloist. The choral director needs to find a good balance and encourage proper singing techniques.
Key Concepts: Choral singing is just as important as solo singing and singers need to find an easy balance with the rest of the group.
Key Terms: equal temperament, just intonation
Making Connections: I need to feel my voice instead of listening for it. When I try to hear my voice, I tend to push and sometimes strain my voice. I need to work on understanding the text more in my choral pieces and remember that the message for those songs is just as important as my solo songs.

Luke Shepherd OB Chapter 12

Chapter Summary: Our entire vocal potential is already in us, we just need to get out of our own way and let our voice do what it can really do without interference. Part of our practice should include a deep practicing the text, the words of the piece alone. Words provide a medium for meaning and are unique to the vocal instrument as opposed to other instruments which have to rely on context. This means the we need to cultivate a strong feeling for the text of any song we want to perform. It's essential that you have specific and intentional thoughts and emotions connected to the text, even if they're not about exactly the same thing as the text (you can sing a song about being a mother even if you're not one). It requires creativity and freedom. Facial expression is one of our most powerful tools for communication in general and especially in singing. "You listen with your eyes as well as your ears." Acting skill are crucial as well, knowing how to lose yourself in a character and become something or someone new affects your whole body which affects your instrument, your voice. Your voice is the servant of your thoughts. This is why conditioning our voices is so important because it frees us up so that our voice can react to voluntary thoughts and emotions which elicit involuntary responses (primal sound).
Key Concept: Freedom in the voice allows for true expression, effective and emotional communication. A deep connection with the text unlocks the doors for true expression.
Key Terms: Color
Making Connections: I've wasted too much time singing songs I didn't care about or connect with and learned from bad experience. The text and context of the pieces I choose to sing now are VERY important to me and this chapter really hit home as to why. Connection with the text means an emotional and mental connection with the piece. This means I can focus on those means of communication and allow my voice to naturally respond. This is one reason why it's obvious which pieces I really like because I sing them much better.

Mariah OB 13

Mariah OB 13
Chapter Summary: Being a professional takes a lot of hard work. Singers need to always be prepared with a large repertoire and a few entire opera roles. Also, to be able to make a living, professional singers need to audition, audition, audition. They can't expect to get hired if they only audition for a couple productions. Along with good technique, singers need to be confident and expressive. Nobody wants to watch an apologetic audition or performance. When singers have their own personality and share it, it is much more fun for the audience. Professional singers need to gain experience any way they can and be respectful in their professional relationships. Good physical health and appearance also play a big role in casting operas today.
Key Concepts: Being a professional singer takes a lot of work. It is just as hard as other professions and maybe harder in some ways. A professional singer needs to have excellent technique, good health and appearance, expressiveness, and dedication.
Key Terms:  musicianship vs musicality
Making Connections: I need to audition for things for often. Even if I don't think I will get it, I still need to try and be confident. I also need to work on being more expressive and confident in my performances.

Luke Shepherd OB Chapter 11

Chapter Summary: "I never practice." Foolish. I loved all the advice in the chapter about starting each day right and just working one day at a time. Every voice is different and every voice is different every day at different times of day. We have to be flexible and free with our voices and not be demanding. It takes a great deal of time and conditioning for the voice to work with masterful freedom and fluency-there are not shortcuts. There's no need to hurry-in fact it is counterproductive to do too much too soon. It's most important to start with good habits and go from there then barrel through something too fast with bad habits. The same goes for learning repertoire-break it down into smaller elements and phrases and develop good habits right off the bat. There is a great deal of mental preparation as well that needs to come first before even vocalizing. One can think through a piece, practice mentally, before ever adding voice to it. The only competition is in developing your own voice to it's fullest potential.
Key Concept: Your voice will develop naturally as we train and condition it with daily practice and good practice habits.
Key Terms:
Making Connections: In my own practice I have definitely noticed the tendency to want to learn the music too quickly and get to performance level very rapidly. I think because I sight read very well I trick myself into thinking I can advance when in reality I should be breaking down the song into individual elements. My singing voice is not conditioned enough for me to sight read at an incredibly high or free level, and I need to take time to get there before I ask too much of my voice.