Dynamics of the Singing Voice.pdf

Meribeth Bunch Dayme

Dynamics of the Singing Voice

Fifth Edition

SpringerWienNewYork

Meribeth Bunch Dayme, Ph.D.

Consultant in Voice, London, England

With illustrations by Audrey Besterman

Consultant for Anatomical Portions: Ruth E.M. Bowden

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Library of Congress Control Number: 2009927288

ISBN 978-3-211-88728-8 SpringerWienNewYork

ISBN 3-211-82985-7 4th edn. SpringerWienNewYork

Foreword

This 5th Edition of Dynamics of the Singing Voice represents an amalga-

mation of the new and the old. The most dramatic changes are the ﬁrst four

chapters, which point to many possible new directions in this century. The

sections on vocal anatomy have only minor changes because the anatomy

has not changed. Our understanding of function has evolved, but as of yet,

not as much as we would like. For this reason, a Chapter 12, Research in

Singing was written.

The advent of the Internet brought the world to everyone, as almost

anything you want to know can be found there. It is easy to be a scholar

now—just ask any of the search engines. For this reason, the old, vast bibli-

ography has been updated and trimmed. When the original book was writ-

ten, there were no comprehensive bibliographies for singers to study and

it was done as a service. Now there are so many excellent texts with huge

numbers of references by Sataloff, Titze, Sundberg, and many others.

As a help to all those singers who struggle with the science and anatomy,

Study Outlines for Vocal Anatomy have been included in the appendices.

These were originally written for my vocal anatomy courses.

The book emphasizes vocal anatomy with little attention being given

to acoustics. There are excellent treatices on acoustics by Titze, Sundberg,

Howard and others who know far more than I in this area.

Over the years of the publication of this book, much has changed; and

that includes the author. I apologize if the writing style is slightly different

in the new and old sections. The study of the human voice, and now energy

ﬁeld, has been a source of never ending fascination for me. I wish the same

for you in your pursuit of singing and teaching.

Preface

The end is now the beginning

When Dynamics of the Singing Voice was written more than twenty-ﬁve

years ago, it answered a need to know. This new edition is about the need

to understand. As Einstein stated so aptly: A man should look for what is,

and not for what he thinks should be. Information is not knowledge.

The aim of this new edition is to look at ways we can expand our knowl-

edge by looking for what is, and explore new frontiers in voice and sing-

ing while at the same time honoring what we have from the past. The

understanding of the physical structure, psychology, and old pedagogical

methods are no longer sufﬁcient and we need to spend time evaluating

what is and was useful, and what no longer serves us. Not only has science

expanded enormously and taken great leaps, so has our understanding of

the whole world of self-development--physically, mentally and spiritually.

It is time for us to look at these developments in relation to the human

voice and to the teaching of singing.

Our intellectual knowledge of the voice has increased multifold over the

past thirty years and will continue. However, this is only one side of a

very incomplete picture. The need to satisfy academic guidelines, and

quantify information in order to prove its value, has made us overly ana-

lytical/critical in areas where we have no need for those kinds of conver-

sations, inner or outer, and has upset the balance of how we learn, teach,

and perform.

The previous editions of this book emphasized the need to understand the

physical structure of the vocal mechanism and to be able to communicate

this. Certainly, this is now part of most graduate curricula in vocal peda-

gogy, and while it is still important to know this information, it no longer

is necessary to emphasize it to the detriment of seeing the larger context.

This edition of Dynamics of the Singing Voice retains much of its origi-

nal information on vocal anatomy with the exception of small alterations

throughout. Students and teachers all over the world have loved the clarity

of the writing about the anatomy, so I would not change that. Study quides

I created for my vocal anatomy courses also have been added as appendi-

ces to help you learn. You will note that while the physical aspects of voice

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