- Title Pages
- 70 The Singing Teacher in the Age of Voice Science
- 71 On the Invasion of Vocal Pedagogy by Science
- 72 The Invisible Instrument?
- 73 Have You Read the Literature?
- 74 Taming the Terrible Triplets of the Vocal Tract
- 75 The Three Musketeers of Tension
- 76 Gorillas, Giraffes, Lions, and Gazelles
- 77 Male and Female Created He Them
- 78 In Search of the Tenth Rib
- 79 Teaching Voices of the Opposite Gender
- 80 Instinctive, Artistic Singing
- 81 Let’s Build a Straw Man! (The Technique-versus-Artistry Debate)
- 82 The Misuses of “Scientific Information” in the Teaching of Singing
- 83 Relax and Sing?
- 84 Easily, Not Lazily (Tonicity in the Singing Instrument)
- 85 The Effect of Tongue Position on Spectra in Singing
- 86 The Role of the Jaw in Singing
- 87 The Incorrupt Jaw and Tongue of Saint Anthony of Padua
- 88 How Big Is the Big Sound?
- 89 Feeling, Hearing, and Seeing the Voice
- 90 Spectrographic Analysis of the Singing Voice
- 91 Vowel Definition in a Performance by Jussi Bjoerling of <i>Vesti la giubba</i>
- 92 Spectral Components of Five Cardinal Vowels in the Soprano Singing Voice Considered by Means of the Sequential Vowel Diagonal
- 93 A Brief Spectral Study of Vowel Differentiation and Modification in a Professional Tenor Voice
- 94 What the Vocal Arts Laboratory Can and <i>Cannot</i> Do
- 95 The Singer and the Otolaryngologist
How Big Is the Big Sound?
How Big Is the Big Sound?
- (p.271) 88 How Big Is the Big Sound?
- On the Art of Singing
- Oxford University Press
This chapter examines whether a big voice is necessary in singing. It argues that techniques for supposedly enlarging the singing voice are counterproductive, because they upset the relationships among the singer's formant, the formant frequencies of the vowel being sung, and the lower formants, all of which are harmonic multiples resulting from the fundamental pitch the singer is producing. There is a standard of size essential for any voice if it is to become professionally viable. A small voice, no matter how beautiful, is not generally useful in the theater or in the concert hall. A professional singing voice must be not only of unusually good quality but also of reasonably good size. However, trying to make a bigger sound by producing exaggerated volume and darkened vocal timbre removes whatever chance of projection an instrument may have.
Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.