Chapter Summary: As a voice teacher it is important to understand the many vocal problems that may occur, so that you can prevent them. The main proponent of vocal pathologies is hyperfunction (too much). It is important to keep both speaking and singing voice healthy.
Characteristics of Hyperfunction: singing too loudly, using the voice too long, pushing with breath, straining for high notes, squeezing for low notes, tension in the shoulders, posture too rigid, breathing too high, breathing too low, tension in neck muscles, tension in muscles of articulation, distortion of facial muscles, carrying low voice too high, too much overall use of voice, faulty speaking habits, imitation of poor voice models, trying for too much sound with young voices, and trying to sing difficult music before technically ready.
Characteristics of Hypofunction: not enough breath to finish normal phrases, tone lacks carrying power, the breathy quality can actually be heard(like whispering), notes give out in the middle of the range, excessive breathiness in high tones, excessive breathiness in low tones, loss of air in consonants, psychological factors.
Laryngitis can become chronic with poor voice usage. Edema is a swelling of the tissues covering the surface of the vocal folds due to retention of excess fluids, Polyps and nodules can be compared to blisters or corns on the VF's. We must be careful with young singers to develop healthy voice habits so they don't develop voice pathologies. There are many other vocal problems that can stem from hypofunction or hyperfunction. These pathologies shouldn't be diagnosed by a voice teacher, but rather they should be referred to a physician.
Key Terms: hyperfuntion, hypofunction, edema, polyps, and nodules,
Key Concepts: Over use or under use of the voice can cause many vocal problems. It is important to have knowledge of these so that as teachers we can recognize them and identify characteristics of them.
Making Connections: I am memorizing the hyperfunction list so that I can be aware in my practice, of not making things happen. I need to focus on think, let, trust.
Wednesday, December 11, 2013
Bric Slade Missing Chapters 1, and 7 of Talent code
DC Chapter 1
Summary
There are unifying elements to prodigies found in talent hotbeds. Two examples given are the soccer players in brazil (their training methods) and the link trainer. Both of these training simulate a situation that allows them to perform at the edge of players abilities and expand upon them.
Key Concepts: Training should allow you to succeed, and yet stretch you enough to allow you to make mistakes, so in the real performance you have improved upon those mistakes.
Key Terms:
Sweet spot
Zone
Deep practice
Mistakes
Challenge
Making connections: Students need to understand that making mistakes is a means of improvement. Improvement is success.The success isn't in overcoming the obstacle, it is simply trying again.
DC Chapter 7
Summary
There are ways to build your own talent hotbed. Examples include teachers who developed their own system of deep practice by trying to build their own school. Starting out they didn't produce any successful results but as years went by they were able to refine teaching methods and codes of conduct to develope a school that taught children how to succeed.
Key Concepts: Creating a talent hotbed is a skill that can be mylenated. In essense, a system is a collection of minds that are mylenating all the time. Continueing to build upon good codes will enable a system to succeed.
Key words: Signals, cues, purposely planted cues, everything is earned.
Making Connections: Every endeavor requires time and energy for success but it also requires vigilance to spot out what parts are and aren't working. In my own life I have developed systems that didn't work out so well, and so I abandoned them for new ones. The ones that worked I have kept and have allowed me to step to higher success. I'm still growing and weeding out the bad aspects of my own system. Why should a school be any different? (or a business, or a book club, etc.)
Summary
There are unifying elements to prodigies found in talent hotbeds. Two examples given are the soccer players in brazil (their training methods) and the link trainer. Both of these training simulate a situation that allows them to perform at the edge of players abilities and expand upon them.
Key Concepts: Training should allow you to succeed, and yet stretch you enough to allow you to make mistakes, so in the real performance you have improved upon those mistakes.
Key Terms:
Sweet spot
Zone
Deep practice
Mistakes
Challenge
Making connections: Students need to understand that making mistakes is a means of improvement. Improvement is success.The success isn't in overcoming the obstacle, it is simply trying again.
DC Chapter 7
Summary
There are ways to build your own talent hotbed. Examples include teachers who developed their own system of deep practice by trying to build their own school. Starting out they didn't produce any successful results but as years went by they were able to refine teaching methods and codes of conduct to develope a school that taught children how to succeed.
Key Concepts: Creating a talent hotbed is a skill that can be mylenated. In essense, a system is a collection of minds that are mylenating all the time. Continueing to build upon good codes will enable a system to succeed.
Key words: Signals, cues, purposely planted cues, everything is earned.
Making Connections: Every endeavor requires time and energy for success but it also requires vigilance to spot out what parts are and aren't working. In my own life I have developed systems that didn't work out so well, and so I abandoned them for new ones. The ones that worked I have kept and have allowed me to step to higher success. I'm still growing and weeding out the bad aspects of my own system. Why should a school be any different? (or a business, or a book club, etc.)
Bric Slade DYV Chapt. 20-21
Chapter Summary: There are a number of factors contributing to hyperfunction in the voice. Many of them come from our speaking habits. We need to always be vigilante of what we are doing on a daily basis, informally, to make sure we are not mylenating bad habits. Hypofunction can be just as dangerous if not more because of the great lengths it takes to correct such habits. They include things like not having enough breath to finish normal phrases or lacking carrying power in the voice. Finding the causes of these conditions will allow us to treat them in the most effective and healthy way. Physical conditions of the larynx can be scary, but what is even more important to stay cautious of are the events leading precisely after treatments such as surgery and such. It is important to be aware of therapy for the voice, keeping your vocal folds hydrated, etc. avoid participating in things that you know are detrimental to healthy singing.
Key Concepts: Hyperfunction and Hypofunction can be corrected by coming to a realization of your speaking habits. Damages to the vocal folds cannot be repaired.
Key Terms: hypofunction hyperfunction
Making Connections: I think this semester I have learned ever so much how understanding your speaking habits can influence the way you sing. Finding your natural speaking voice can greatly improve your singing, but as for healthy singing its important to speak healthy too. I have always tried to stay away from things that would be extremely damaging to my voice. If I had something happen to my voice I don't know what I would do.
Bric Slade DYV Chapter 21
Chapter Summary: Teaching is like playing the telephone game. Everything you say can be misconstrued or misunderstood, and its not really your students fault, its just that everyone is different. Thats why its important to understand your students so you can better understand how to communicate with them. Not only do we need to be vigilante in our teaching our students but we need to be able to listen and understand that every one of our students has a potential that is unique to them. To understand your student you need to understand the way they talk, their social life, their family life, what they are going to do with your teaching them. You need to experiment with them to see what they can and cannot do for the time being. Teach them to feel their voice and not listen to it. Your student can feel whether you are enjoying teaching them or not and a lot of the time they will exhibit it through the way they practice and perform.
Key Concepts: They don't care how much you know, until they know how much you care. Understanding your student will truly make a difference in making a difference in your students learning.
Making Connections: I have had teachers that didn't enjoy teaching. I have had teachers that didn't enjoy teaching me. When I feel their dissapointment or lack of interest, It doesn't make me want to try very hard. The teachers that have made the biggest difference in my life are the teachers who took the time to know me personally, but not just know me, understand me.
Key Concepts: Hyperfunction and Hypofunction can be corrected by coming to a realization of your speaking habits. Damages to the vocal folds cannot be repaired.
Key Terms: hypofunction hyperfunction
Making Connections: I think this semester I have learned ever so much how understanding your speaking habits can influence the way you sing. Finding your natural speaking voice can greatly improve your singing, but as for healthy singing its important to speak healthy too. I have always tried to stay away from things that would be extremely damaging to my voice. If I had something happen to my voice I don't know what I would do.
Bric Slade DYV Chapter 21
Chapter Summary: Teaching is like playing the telephone game. Everything you say can be misconstrued or misunderstood, and its not really your students fault, its just that everyone is different. Thats why its important to understand your students so you can better understand how to communicate with them. Not only do we need to be vigilante in our teaching our students but we need to be able to listen and understand that every one of our students has a potential that is unique to them. To understand your student you need to understand the way they talk, their social life, their family life, what they are going to do with your teaching them. You need to experiment with them to see what they can and cannot do for the time being. Teach them to feel their voice and not listen to it. Your student can feel whether you are enjoying teaching them or not and a lot of the time they will exhibit it through the way they practice and perform.
Key Concepts: They don't care how much you know, until they know how much you care. Understanding your student will truly make a difference in making a difference in your students learning.
Making Connections: I have had teachers that didn't enjoy teaching. I have had teachers that didn't enjoy teaching me. When I feel their dissapointment or lack of interest, It doesn't make me want to try very hard. The teachers that have made the biggest difference in my life are the teachers who took the time to know me personally, but not just know me, understand me.
Caitlin Craig OB Chapter 19
Chapter Summary: Enigmas can inhibit our ability to grow and learn in singing. Oren calls these "hang-ups". The only competition we have is ourselves. We must learn to let go and get out of our own way so that we can discover our true vocal potential. Emotional stress effects the voice as much as environmental factors can. "You can't fool mother nature! If you feel physically unwell or emotionally troubled, you'd better try to understand what is going on and do something about it. Your situation could become much worse if you don't."
Our emotions effect our autonomic nervous system
Key Terms: enigma, "hang-ups".
Key Concepts: Manage stress in healthy ways so that it doesn't effect your singing.
Making Connections: I find that when I'm emotionally distressed I have a hard time focusing, and my body is closed to learning. When I take a step back and return to the task at hand later, I find a fresh new view of what I was trying to accomplish. This might be helpful in teaching, if I ever become discouraged, or unsure where to start.
Our emotions effect our autonomic nervous system
Key Terms: enigma, "hang-ups".
Key Concepts: Manage stress in healthy ways so that it doesn't effect your singing.
Making Connections: I find that when I'm emotionally distressed I have a hard time focusing, and my body is closed to learning. When I take a step back and return to the task at hand later, I find a fresh new view of what I was trying to accomplish. This might be helpful in teaching, if I ever become discouraged, or unsure where to start.
Bric Slade MC 12/3/13 and VRH 12/5/13
MC 12/3/13
Jake Spjute: I am always very pleased with the power in jakes voice. He might have been sick or something but the higher notes sounded barely strained, but they are more resonant than mine. Cindy talked alot about presetting the jaw. I don't know what else to say but think more spacial resonance.
Taylee Beckstead- The onset was a little shaky. I feel that she might be thinking a little too much about making those high notes clear which makes it a little shaky. I would say thinking more authentic, speaking voice. Cindy had her work on authenticity, by doing other things to distract her from thinking technique technique technique. I feel that it sounded so much more free and authentic.
Laura Berg- Always a very beautiful performance. There is some expression issues I might mention, but that comes with finding authenticity like Taylee.
VRH 12/5/13
Taylee beckstead- I feel that the tongue gets in the way which is a result of too much thinking technique. I feel she has the technique down for the most part, what she should be working on is expression. Keeping a clear picture of what you are singing about distracts you from unnecessary "technique, technique, TECHNIQUE". Technique is important but you can only go so far before you have to be an artist. Trying to speak the words as if you are in a play. Think about the motivation behind each word. Write a story to go along with the music, no matter how corny it sounds.
Jared Campbell- I feel taht the breathing is off a little, causing the high notes to be unprepared. There is some straining. There has to be more central power in the singing. You are an anchor in a spinning whirling ocean. Over all the sound is very nice.
Aubrey Robbins- I can sense tension in places, which is effecting the breathing. Other than that I feel that she sounds very great. I would practice lying like a board and speaking the text more maybe.
Jake Spjute: I am always very pleased with the power in jakes voice. He might have been sick or something but the higher notes sounded barely strained, but they are more resonant than mine. Cindy talked alot about presetting the jaw. I don't know what else to say but think more spacial resonance.
Taylee Beckstead- The onset was a little shaky. I feel that she might be thinking a little too much about making those high notes clear which makes it a little shaky. I would say thinking more authentic, speaking voice. Cindy had her work on authenticity, by doing other things to distract her from thinking technique technique technique. I feel that it sounded so much more free and authentic.
Laura Berg- Always a very beautiful performance. There is some expression issues I might mention, but that comes with finding authenticity like Taylee.
VRH 12/5/13
Taylee beckstead- I feel that the tongue gets in the way which is a result of too much thinking technique. I feel she has the technique down for the most part, what she should be working on is expression. Keeping a clear picture of what you are singing about distracts you from unnecessary "technique, technique, TECHNIQUE". Technique is important but you can only go so far before you have to be an artist. Trying to speak the words as if you are in a play. Think about the motivation behind each word. Write a story to go along with the music, no matter how corny it sounds.
Jared Campbell- I feel taht the breathing is off a little, causing the high notes to be unprepared. There is some straining. There has to be more central power in the singing. You are an anchor in a spinning whirling ocean. Over all the sound is very nice.
Aubrey Robbins- I can sense tension in places, which is effecting the breathing. Other than that I feel that she sounds very great. I would practice lying like a board and speaking the text more maybe.
Caitlin Craig Chapter 18 Summary
Chapter Summary: "Hearing is the special sense by which noises and tones are received as stimuli. Sound moves through the air by way of air molecules. Decibels measure the intensity of sound, and change in intensity is a measure of the change in energy coming from the source of sound. Another word for frequency is pitch. It is much harder to produce a low note than it is to produce a high note. Singers never hear themselves as the audience does, because our ears protect themselves from the intensity of sound. The tensor tympani muscle decreases the mobility of the tympanic membrane when sounds become too loud. Diplacusis is the condition in which a person's ears record different pitch sensations for the same tone. This is a common cause of the inability of proper intonation.
In articulation it is important to exaggerate the consonants so that they are audible.
Preserve your hearing by putting cotton in your ears.
Key Terms: decibels, hertz, tensor tympani muscle, diplacusis
Key Concepts: It is harder to produce a low note than a high note. The tensor tympani protects our ears from intense decibels being produced through our own singing.
Making Connections: I need to be more careful about protecting my hearing whilst listening to my ipod, or when going to concerts. I want to instill this prevention on my students as well.
In articulation it is important to exaggerate the consonants so that they are audible.
Preserve your hearing by putting cotton in your ears.
Key Terms: decibels, hertz, tensor tympani muscle, diplacusis
Key Concepts: It is harder to produce a low note than a high note. The tensor tympani protects our ears from intense decibels being produced through our own singing.
Making Connections: I need to be more careful about protecting my hearing whilst listening to my ipod, or when going to concerts. I want to instill this prevention on my students as well.
Caitlin Craig OB Chapter 17 Summary
Chapter Summary: In order to think, let, trust, we must understand the vital role the brain plays in singing. In order to sing a pitch we must think it first. The brain is the control system and gives commands to your muscles. The voice is able to respond to mental concepts that the brain imagines, feels, or experiences. In one brain there are between 10-100 billion cells.
The voluntary nervous system responds to thoughts from the cortex. The involuntary nervous system (automatic nervous system) functions without our direction. The most primitive part of the nervous system is the spinal cord. A neuron is the functional unit of the central nervous system
Neurons help to receive and transmit messages. They receive stimulus by way of afferent nerve fiber to the neuron, and the neuron sends a signal to the brain. When actions have been repeated the task becomes a routine action, and no longer needs special attention. This is known as a reflex arc or a conditioned reflex. Singing everyday is important, because it encourages conditioned reflexes and keeps nerves in healthy condition by working regularly.
"Through practice, you can develop a pre-phonatory inspiration equal to the task that the breath has to carry out." Nerves that are involved with singing include: the Vagus, the glossopharyngeal nerve, facial nerve.
Key Terms: voluntary nervous system, involuntary nervous system, neuron, stimuli, reflex arc/conditioned reflex,
Key Concepts: Before there is knowledge there must be memory. The true art of memory is attention: pay attention to how your body is behaving when singing is free.
Making Connections: This chapter helps reinforce the idea of practicing daily, to keep the nevers in healthy condition, and working daily.
The voluntary nervous system responds to thoughts from the cortex. The involuntary nervous system (automatic nervous system) functions without our direction. The most primitive part of the nervous system is the spinal cord. A neuron is the functional unit of the central nervous system
Neurons help to receive and transmit messages. They receive stimulus by way of afferent nerve fiber to the neuron, and the neuron sends a signal to the brain. When actions have been repeated the task becomes a routine action, and no longer needs special attention. This is known as a reflex arc or a conditioned reflex. Singing everyday is important, because it encourages conditioned reflexes and keeps nerves in healthy condition by working regularly.
"Through practice, you can develop a pre-phonatory inspiration equal to the task that the breath has to carry out." Nerves that are involved with singing include: the Vagus, the glossopharyngeal nerve, facial nerve.
Key Terms: voluntary nervous system, involuntary nervous system, neuron, stimuli, reflex arc/conditioned reflex,
Key Concepts: Before there is knowledge there must be memory. The true art of memory is attention: pay attention to how your body is behaving when singing is free.
Making Connections: This chapter helps reinforce the idea of practicing daily, to keep the nevers in healthy condition, and working daily.
Caitlin Craig OB Chapter 16 Summary
Chapter Summary: The more we understand the anatomy of the voice, the better we will be equipped to teach students, and to help ourselves gain better understanding in our individual voices. Because no two voices, or VF's are the same, physical sensations will never be the same for two people. This is why anatomy is crucial to teaching healthy singing. Knowing and understanding the anatomy of the voice will help it to become more free and allow it to develop in its own natural path.
There are intrinsic laryngeal muscles and extrinsic. "If the intrinsic muscles of the larynx are to be free for automatic adjustment to the thought of pitch, then the extrinsic muscles must be in condition of what I term release."
intrinsic: TA, PAC, LCA, IA, & cricothyroid.
extrinsic: Sternohyoid, sternothyroid, omohyoid, thyrohyoid, digastric,stylohyoid, geniohyoid, genioglossus, hyoglossus, mylohyoid.
Key Terms: laryngeal elevators, laryngeal depressors,
Key Concepts: The more we understand the anatomy of the voice the better equipped we will be to teach healthy singing and voice habits.
Making Connections: I think that this semester has given me a lot to think about anatomically. I feel that I can grasp ideas (i.e. space between your back molars) better because of my understanding of the anatomy. I can see directly through my growth and learning how it will effect future students.
There are intrinsic laryngeal muscles and extrinsic. "If the intrinsic muscles of the larynx are to be free for automatic adjustment to the thought of pitch, then the extrinsic muscles must be in condition of what I term release."
intrinsic: TA, PAC, LCA, IA, & cricothyroid.
extrinsic: Sternohyoid, sternothyroid, omohyoid, thyrohyoid, digastric,stylohyoid, geniohyoid, genioglossus, hyoglossus, mylohyoid.
Key Terms: laryngeal elevators, laryngeal depressors,
Key Concepts: The more we understand the anatomy of the voice the better equipped we will be to teach healthy singing and voice habits.
Making Connections: I think that this semester has given me a lot to think about anatomically. I feel that I can grasp ideas (i.e. space between your back molars) better because of my understanding of the anatomy. I can see directly through my growth and learning how it will effect future students.
Caitlin Craig OB Chapter 15 Summary
Chapter Summary: Although singing is a bit abstract, and singers often rely on sensation and imagery to rule their vocal production, we must have an understanding of the science of sound to facilitate learning. This can help us avoid unhealthy voice habits, and potentially vocal pathologies. Sound is energy carried through sound waves. Air vibrates, and then there must be a receiver for the sound to be heard. Decibel level is higher for higher pitches. Therefore higher pitches are much easier to hear. Singers should remember this when singing high tones -- they need not to be sung loudly.
"Intensity is the amount of energy or power per second per square centimeter of a sound wave." The loudest sound or "threshold of pain" is around 120 dB.
When studying wave form, if the mass of a resonator is increased, the amount of resonance will increase. When sound is rebounded, various frequencies can be amplified or cancelled. Pitches consist of a fundamental frequency and overtones.
Resonance is the relationship between two vibrating bodies: the musical tone and the supplementary vibrator.
Key Terms: hertz, condensations, rarifications, pitch, noise, decibels, bernoulli effect, elastic recoil, intensity, loudness, wave form, resonance, sympathetic vibration
Key Concepts: The Bernoulli effect states that moving air has less pressure than stationary air. When we think a pitch, the Vf's approximate, and then a steady pressure of air parts the vocal folds. This drop in air pressure causes the VF's to come together to produce sound. The Venturi Effect is another law of physics that states that if the flow is consistent then pressure and the opening are in opposition (garden hose). Beat phenomenon is when two vibrating sources differ slightly in frequency. This phenomenon occurs in choirs a lot.
Making Connections: I can recognize beat phenomenon in chamber singers at times. Sometimes the chords don't completely lock in intonation, and in result, there aren't proper overtones present.
"Intensity is the amount of energy or power per second per square centimeter of a sound wave." The loudest sound or "threshold of pain" is around 120 dB.
When studying wave form, if the mass of a resonator is increased, the amount of resonance will increase. When sound is rebounded, various frequencies can be amplified or cancelled. Pitches consist of a fundamental frequency and overtones.
Resonance is the relationship between two vibrating bodies: the musical tone and the supplementary vibrator.
Key Terms: hertz, condensations, rarifications, pitch, noise, decibels, bernoulli effect, elastic recoil, intensity, loudness, wave form, resonance, sympathetic vibration
Key Concepts: The Bernoulli effect states that moving air has less pressure than stationary air. When we think a pitch, the Vf's approximate, and then a steady pressure of air parts the vocal folds. This drop in air pressure causes the VF's to come together to produce sound. The Venturi Effect is another law of physics that states that if the flow is consistent then pressure and the opening are in opposition (garden hose). Beat phenomenon is when two vibrating sources differ slightly in frequency. This phenomenon occurs in choirs a lot.
Making Connections: I can recognize beat phenomenon in chamber singers at times. Sometimes the chords don't completely lock in intonation, and in result, there aren't proper overtones present.
LaeKin Burgess OLB Chapter 4 Summary
Summary: To elicit pitches one has to trust that the vocal chords will adjust to pitch automatically. To elicit pitches means to let the pitches release without interference. To accomplish this we should review primal sound and free release of the breath, then do sighing exercises from high to low several times. Students try to set their voices when they are singing as if they need to do something, but sighing and singing should feel the same. Lip trills and hissing sounds are also good exercises to release sound without interference. Making sound should be like a child-like endeavor with no effort and no worry about how the sound will come out.
Key Concept: To elicit pitches means to release them. You already have the pitches within you, you only need to think the pitch and let it out.
Connections: I didn't know how to do this when I first got to the university. Now I understand the concept but am still trying to make it muscle memory. The exercises mentioned in the chapter are useful for every day.
Key Concept: To elicit pitches means to release them. You already have the pitches within you, you only need to think the pitch and let it out.
Connections: I didn't know how to do this when I first got to the university. Now I understand the concept but am still trying to make it muscle memory. The exercises mentioned in the chapter are useful for every day.
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