Regulating Vocal Load in High Impact Production

Abstract

Regulating Vocal Load in High Impact Production Justin John Moniz (bio) VOICE PEDAGOGY INTRODUCTION The pop/rock canon is, perhaps, one of the most challenging genres to teach effectively. Despite the fact that so few degree programs formally train teachers and coaches to work within these styles, the world of pop/rock is inclusive of myriad subgenres, including but not limited to motown, 70s folk/rock, disco, 80s pop/rock, hip-hop, r&b, punk rock, country, faerie, and Latin pop. When comparing the vocalisms and stylistic attributes of artists such as Aretha Franklin and Dolly Parton, Aerosmith and Jason Mraz, or The Beatles and Green Day, for instance, it is rather difficult to argue the significant breadth of approaches present. As such, appropriately guiding singers can become particularly overwhelming. One of the greatest hurdles in the field of CCM singing is the absence of a systematic pedagogic approach that accounts for both stylistic considerations and vocal health.1 Unlike the industries of opera and musical theater, the world of popular music places great emphasis on resisting the vocal status quo. Singers are encouraged to embrace their own unique vocal footprint, often with little consideration for the level of balance (or imbalance) in their approach. This creates a great list of challenges in the pedagogic setting, as voice teachers are regularly tasked with deciphering which vocal faults to address and which are a desired and necessary piece of a student’s vocal profile. Adopting assessment tactics that are built upon objective (rather than subjective) measures will enable a more inclusive and open minded approach. “Is what I am hearing efficient?” If so, “Is it sustainable?” In order to ensure optimal efficiency and sustainability through vocal production in any style, it is imperative to consider each genre’s unique stylistic demands and examine the processes by which we guide singers to explore both vulnerability and authenticity in their performances. A primary point of consideration is first to investigate vocal load. In the world of voice pedagogy and voice science, the presence and frequency of “vocal load,” “vocal loading,” “vocal effort,” and “vocal fatigue” often appear to be used interchangeably with blurred distinctions.2 For the purpose of this discussion, we will define vocal load as vocal demand. High impact production can be most easily defined as any technical approach that perpetuates an added and sustained level of stress at the vocal fold level. As such, the adductory pattern of the vocal folds must be carefully [End Page 601] considered. In pop/rock styles, high impact production is easily measured by the infiltration of stylistic attributes that create an imbalance in the mechanism and help to provide the necessary authenticity in a particular style. The presence of rock cries, cracks, pops, growls, glottal onsets, aspirated offsets, excessive breathiness, and fry phonation, are often necessary components of production. Balancing vocal load, however, is heavily dependent upon one’s ability to recognize the impact of each stylistic nuance as well as the potential for sustainability in light of their recurring presence. FOUNDATIONAL ELEMENTS It is essential to carefully consider the two foundational pillars of production—technique and style. According to voice pedagogue Robert Edwin, technique should serve the genre and function as the foundation which enables style to exist.3 When working within the pop/rock canon, this is an especially important area of consideration due to the vast array of styles present. Simply put, technique functions as a replication of process—a process that we can easily equate to baking. If the ingredients of a recipe are carefully measured, the oven temperature and timing are appropriately calibrated, and each step is thoughtfully executed, the product will, more often than not, result in a consistent and favorable outcome. Without the appropriate foundational elements of production in place, stylistically informed technical alterations may not be easily implemented in order to accommodate the demands of each unique genre. In order to achieve true authenticity in each style, special considerations need to be made in regard to a lowered soft palate, modest pharyngeal space, and an elevated laryngeal position, specifically in those styles that require the utilization of significant belt function. Perhaps the most important area...