![]() ![]() According to some scholarship on historical vocal techniques, there is an historical, wrong way to sing and a newer, correct way that is partly determined by the height of the larynx while singing. The vocal techniques of the past, inferred to have a higher larynx, are often dismissed as inferior in quality and volume. The consequence of this dramatic pedagogic evolution has not yet been fully revealed, although the transformation has produced singers who comprehend more fully the science of their art from performers of previous generations and who are therefore increasingly efficient and accomplished at a fuller range of stylistic communication. I posit that voice pedagogy has undergone a fundamental change, from telling the student only what to do in order to produce correct vocal sound, via auditory demonstration and visual imagery, to validating how and why students should change their vocal approach with scientific data. Analysis and comparison of the results of these three appraisals reveal the extent to which voice teachers have changed dramatically their method of instruction. 19), I replicate the equivalent survey to acquire additional indicators of advancement in scientific insight and its pedagogical application. Subsequently, at approximate ten year intervals (ca. By means of a mindful survey of significant publications-including edition comparisons of texts by Richard Miller, Robert Sataloff, Ingo Titze and Barbara Doscher, as well as articles from both The Journal of Singing and The Journal of Voice-I establish a baseline of scientific knowledge and pedagogical practice ca. After a centuries‐long history, within a span of twenty years voice pedagogy evolved categorically from an approach solely derived from subjective, auditory, evidence to an application grounded in scientific data. Any prior application of scientific study to the voice was speculative and based solely upon auditory evaluation rather than objective data accumulation and assessment. Previously, the voice was a “hidden instrument” (my terminology) since the technology needed to accurately measure physiological change within the larynx and breath‐support musculature throughout the process of singing simply did not exist. The teaching of singing remained comparably stagnant until, at the end of the twentieth century, advances in the understanding of voice science dramatically changed approaches to vocal pedagogy. ![]()
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