problems associated with gIVIng vocal Resolving Conflicts Between instructions in rehearsals. When vocal instructions are given to improve choral tone, blend, and balance, the choral Choral Directors director should strive to observe in­ dividual singers carefully as well as to and Voice Teachers listen to them. In this way singers who respond incorrectly can be identified ByAllen Goodwin before they acquire poor vocal habits. The choral director can also make the munication is dependent on the per­ singers aware of the problems inherent Dr. Allen Goodwin is Director of Choral ceptions of the students. The dangers in in the process of giving vocal Activities at Virginia Intermont College in that arrangement are that the students suggestions in rehearsals. Prior to Bristol, Virginia, where he also teaches voice may: (1) misunderstand or misapply receiving certain instructions, students and courses in music education. He is active certain vocal instructions from one can be alerted to possible miscon­ as a researcher in the field of vocal acoustics and is also choir director at Central teacher, and (2) exaggerate or in some ceptions. The director can then appeal Presbyterian Church in Bristol, Virginia. other way misrepresent those vocal for feedback from the singers if they feel instructions to the other teacher. This unsure about some aspect, especially if it may occur even when no essential dif­ appears to conflict with instructions It is not unusual for conflicts to ferences of vocal technique are intended. received from a private teacher. develop between a choral director and a It should also be recognized that dif­ When voice students and non-studio voice teacher when both work with the ferences of approach, emphasis, and singers are together in choir, it may be same students. This article suggests terminology may be heard among voice necessary for the untrained singers to be why such difficulties occur and proposes teachers and among choral directors. given vocal instructions which are methods for promoting understanding This situation may exist even when unnecessary for the voice students. The and cooperation between choral directors there is substantial agreement con­ choral director may then state that and voice teachers. The first section cerning the basic vocal objectives. certain vocal instructions about to be deals with conflicts arising from a lack of The voice teacher often has the ad­ given are intended only for certain in­ communication and mutual un­ vantage in making his vocal instructions dividuals in the choir. This may include, derstanding. The second section offers understood by students because private for example, just the choral singers who suggestions for achieving choral blend lessons usually provide for com­ are not currently studying voice, just the and balance without asking choral munication on a one-to-one basis. The bass section, or some other particular ­ singers to alter their solo vocal choral director, on the other hand, is subgroup of the vhoir. The vocal production. constrained by practical limitations to problems of certain singers may be dealt give vocal instructions en masse. with individually or in small groups The Communication Problem Moreover, in a given choir the singers outside the main choral rehearsals. Both the boice teacher and the choral may vary widely in their skill, training, Vocal difficulties among students director have vested interests in their and ability. While a choral director may studying voice may best be approached mutual students. Typically, a voice avoid certain problems by giving no by discussing them with the students' teacher is more concerned with vocal instructions at all in choral voice teachers. The matter should be producing excellent solo singers than in rehearsals, that could result in un­ approached in the spirit of seeking a developing ensemble participants. satisfactory choral performances. voice teacher's advice and assistance in Conversely, a choral director is usually A danger of giving vocal instructions remedying a vocal problem of mutual more concerned with producing excellent in choral rehearsals is that a choral concern. The choral director should choral groups than in developing in­ singer may wrongly interpret the avoid implying that the voice teacher is dividual soloists. director's instructions without the not training the student properly, or Both teachers have legitimate claims. director being aware of it. Similarly, even that the voice teacher is not already The primary responsibility for singers may attempt to follow certain aware of the student's vocal problem. developing a student's individual vocal instructions which were primarily in­ The objective is to enlist the voice skills lies, it seems, with his private tended to correct the vocal faults of teacher to deal in his own way with the voice teacher. On the other hand, only a others in the ensemble. The director may choral singer's vocal difficulties. few voice students ever become hear a problem concerning choral tone, Choral literature may be selected professional singers, while many voice take measures to correct the problem, which minimizes the areas of potential students do continue throughout their and then hear an improved choral sound. conflict between the choral director and lives to participate in choral music either At the same time, the director may be the voice teacher. For example, the as ensemble singers, conductors, or unaware of individual singers who may choral director may believe that singing choral teachers. Thus, students need the have altered their vocal production in without vibrato is appropriate for musical experien~es provided by private undesirable ways (e.g., singers getting singing certain selections, while the vocal training as well as participation in softer by "tightening up" and "holding voice teacher may strongly oppose such choral ensembles. In addition students back"). singing in all circumstances. In such a feel a measure ofloyalty to both teachers Voice teachers can appreciate this situation the choral director could and wish to cooperate with each. aspect, recalling that even in the one-to­ restrict the choir's repertoire to works Students are faced with a dilemma when one situation of the studio the same which did not in his opinion require such they perceive conflicts between their two vocal instructions often produce varying adjustments of vibrato. teachers. results with different students, or even As an alternative to the above One cause of difficulty is a lack of with the same students at different procedure, the performance of certain direct communication. Instead, each times. selections could beallocated to a selected teacher hears about the other through There are several ways in which a group of individuals whose use of the their mutual students. Such com- choral director may minimize the technique(s) would not cause alarm (e.g., 5 singers who are not voice students or psychoacoustical and acoustical prin­ above is complemented by the fact that who are not studying with certain voice ciples to keep in mind. sounds diminish in intensity with in­ teachers). Although the choral director The first principle is that a singer creasing distance from the source. might feel that such a course of action controls his sound by what he hears Specifically, intensity diminishes with would represent an encroachment upon (aural feedback). Placed in a situation the square of the distance from the his freedom, the spirit of cooperation where he cannot hear himself adequately source. This means that (theoretically in fostered by such a move could prevent (e.g., crowded together on risers), the open air) when the distance from the voice teachers from withdrawing their singer will unconsciously and intuitively source is doubled, the intensity is students from choral activities. Such an sing louder. The situation is similar to reduced to one fourth of what it was. approach might also "buy time" for the an individual listening to music on When the distance from the source is choral director, allowing the voice earphones and trying to carry on a tripled, the intensity is reduced to one teacher to gain confidence in his han­ conversation simultaneously. He makes ninth of what it was. This does not mean dling of voices before attempting to use his voice louder than normal in order to that the subjective loudness of a sound techniques which might be con­ offset his reduced ability to hear himself. is reduced in the same proportions as its troversial. When a choral singer responds in the physical intensity. However, some Above all, what must be avoided is the same manner, his action affects not only reduction of loudness does occur with relationship between the choral director his perceived loudness, but also to a increasing distance from the source. The and voice teacher degenerating into a certain extent his vowel quality, vocal effects of room resonances and of conflict of personalities, in which each timbre, and vibrato· characteristics. reflecting surfaces such as acoustic feels that his professional pride and ego These in turn may adversely affect the panels behind a choir alter some of these are on the line and can only be main­ choral tone, blend, and balance. Several factors, but they essentially remain. The tained by discrediting the other. It is of the acoustical factors explaining this fact is that a singer or a choral section tempting to believe that one's own views phenomenon have been identified by the placed at a greater distance from a concerning the voice are correct. writer, and further research is con­ listener will not be heard as loud as they However, even a casual familiarity with tinuing.I Suffice it to say that the above would if placed closer to a listener. the research literature points to the principle is not merely speculation but When seeking to achieve a choral realization that the vocal process is has support from acoustical studies both balance by taking advantage of the exceedingly complex and that no one has in music and in the field of speech and various phenomena discussed above, it all the answers. Inflexible views should hearing science. is advisable to merely keep the be tempered by an openness to explore A second psychoacoustical principle acoustical principles in mind as guides and to understand other viewpoints. important for choral blend and balance for determining how to move the singers Additionally, more research is needed to involves a phenomenon called the around. Then experiment, judging the help unravel the mysteries of the in­ "precedence effect." It occurs when two effects by ear. Aural judgments should terrelated processes of vocal production sounds which are very much alike in be made at the point of the listener, not and aural perception and to provide a quality and intensity emanate from the in the customary position of the con­ scientific basis for both vocal and choral sources which are different· distances ductor immediately in front of the choir. pedagogy. from a listener, e.g., two singers singing In addition to the techniques the same vowel. The sound is perceived discussed above, the imbalance between Achieving Choral Blend as coming from the nearer source rather certain sections may be offset to some and Balance than from both sources or from some extent by assigning more singers to It appears that many of the conflicts point between the two sources. When certain sections. This practice is par­ between choral directors and voice the sound from one source arrives at the ticularly effective when the assignment teachers are related to certain vocal ear a millisecond or more before the of singers to sections is free to change in techniques which the choral singers are sound from a second source, the com­ response to the voicing of different instructed to use in the interest of bined sound is perceived as coming from choral works and their tessitura and/or achieving ensemble tone, blend, and the nearer source until the intensity of dynamic characteristics. This implies a balance. Often voice teachers are the delayed sound is increased about 8 system of singer and section placement disturbed if their students are asked to Db.2 which permits the physical positioning sing in any manner which varies from In practical terms this means that if of the singers to be changed quickly as the customary concert/operatic style of one singer has a larger sound than needed for different selections. Ehmann vocal production being developed in another, the difference in loudness has an excellent chapter devoted to the private lessons. There are a number of between them, which contributes to each subject in his book on choral directing. 3 approaches available for achieving singer being separately discernible, may One should, of course, determine that a choral blend and balance which do not be offset to some extent by placing the particular choral tone, blend, and involve asking singers to alter their smaller voice closer to the listener and balance is appropriate for the music usual solo vocal production. While an the larger voice farther away. The same being performed. optimum vocal blend is, perhaps, not principle may also be applied to the In considering various arrangements always available through such means placement of choral sections. A weaker for the physical positioning of the alone, their implementation may con­ section may be placed closer to the singers, it is also important to consider tribute enough toward an ensemble listener than a louder section. Choral that the singers need to hear each other blend that further vocal modifications sections which consistently sing in the as well as themselves. The slightly are minimized or even unnecessary. grateful parts of their ranges (e. g. , curving front presented by the con­ A suitable balance of loudness among sopranos) may then be aided in their ventional arrangement of choir risers the different singers in a given section balance with sections singing in a low often makes it difficult for singers at and!or among the different sections of a tessitura (e.g., altos) by carefully opposite ends of the rows to hear each choir may be developed in large part by a placing the sections with regard to the other. The crowding of choral singers careful placement of the choral singers. listener. together on risers may also make it In determining the placement of the The balancing of unequal sound difficult for the singers to hear them­ singers there are several important sources by the technique described selves adequately without singing louder 6 THE CHORAL JOURNAL than would be necessary otherwise. One risers. The front row also stands on the In summary, when choral singers are should not permit the design of choir floor but several feet in front of the row placed so that each singer can hear risers to dictate the physical positioning behind them. himself and the rest of the choir, in­ of singers. With fewer singers on each riser, the dividual singers tend not to "oversing." There is a way that conventional risers added strength and stability provided Also a suitable choral balance is may be used so that the physical by bracing the riser sections together is promoted by placing individual singers positioning of the singers permits them not required. For a given number of and!or choir sections so that strong to hear themselves and each other more singers, more risers are required. On the voices are farther away from the easily and also has the benefit of various other hand, a small group which is audience than weak voices. These ap­ methods of singer placement. The spread out over a larger area gives the proaches often result in an improved arrangement also permits quick illusion of a larger group. ensemble tone, blend, and balance while rearrangement of the singers, if desired. The formation described above not restraining individual singers. Not The singers are placed in a half-circle permits a weak section to be placed only are the results gratifying for the formation, with the half-circle opening nearer the audience than a loud section. choral director, but they can contribute out to the audience. The riser sections The arrangement also permits soft to good relationships with voice are separated from each other to permit singers within a given section to be teachers. a deeper curve than the conventional placed nearer the audience than louder arrangement with the risers fastened singers in the same section. If acoustic together. The singers are spaced so that panels are available, they may be placed REFERENCES they are no closer than about four feet behind certain areas of the choir in order and preferably are further apart. If there to reinforce the sound. Conversely, the 1 Allen W. Goodwin, An Acoustical Study of Individual Voices in Choral Blend, unpublished are four rows of singers in the choir, the acoustic panels may be moved so as not doctoral dissertation, Denton, Texas, North Texas back row stands on the top step of the to be behind certain singers or areas of State University, 1977. risers. The next-to-back row stands on the choir whose sound needs no rein­ 2 Arthur H. Benade, Fundamentals of Musical the first step of the risers. The second forcement. Since this arrangement Acoustics, London, Oxford University Prsss, 1976, step of the risers is not used. The next­ provides so much open space within the p. 228. 3 Wilhelm Ehmann, Choral Directing, Min· to-front row stands on the floor several choir, the singers may move directly to neapolis, Augsburg Publishing House, 1968, pp. 7· feet in front of the bottom step of the new positions in a matter of seconds. 14. ChineseChoralConductor To Visit United States

Gershom Ma with the select women's ensemble from the Shanghai Philharmonic Society Chorus, whose 1978 recording won the "Shanghai Red Flag Outstanding Collective Com­ mendation. "

Gershom Ma will be returning to the Gershom Ma, dean of Chinese choral to study music at Southwestern Baptist United States to attend the ACDA conductors, will visit the United States Theological Seminary. He subsequently National Convention in New Orleans, in spring 1981, at the invitation of enrolled at Westminster Choir College to March 5-7, 1981. He will remain in the ACDA National President H. Royce work on his M.M. He returned to China United States during April and May in Saltzman, to attend the ACDA National in 1950, before completing the work for order to visit schools and colleges and Convention. It will be Professor Ma's the degree, but later completed it and become reacquainted with the U.S. first visit here in 30 years. received his M.M. in 1952. choral scene from which he has been cut Prof. Ma is the senior member of the Although Gershom Ma was active in off for 30 years. conducting faculty at the Shanghai church music for a few years after his Any school or organization wishing to Conservatory of Music, one of China's return to China, it became necessary for invite Prof. Ma should contact David two principal music conservatories. He him to give it up. He joined the Larson, Director of Choral Studies and is also the conductor of the Shanghai Shanghai Conservatory faculty in 1955. Activities, Chicago Musical College of Philharmonic Society Chorus, affiliated He has written a book, soon to be Roosevelt University, 430 S. Michigan with the Shanghai Philharmonic Or­ reissued, on choral conducting, and has Avenue, Chicago, IL 60605, tel. (312) chestra, and is conductor of the made numerous choral arrangements. 341-3500, immediately for information Shanghai Broadcasting and Television Prof. Ma was one of thousands of on his availability. Chorus. intellectuals who suffered during the Son of a Christian minister, Gershom campaign against "rightists" begun in Ma grew up in Sian, an ancient Capital 1958, and again during the Cultural VOCAL JAZZ of China, and has lived for many years in Revolution. Nevertheless, he remains for Christmas SATB & SSA Two-part & Unison Shanghai. He received his B.M. degree strongly loyal to his country and Send for free recording from Central University in Nanking and through choral music is helping to build and mini-scores joined the faculty of a Baptist-related the new China. SCOTT MUSIC PUBLICATIONS college in Shanghai. A warm-hearted man, able musician Box 148, Hollywood, CA 90028 In 1947 he came to the United States and conductor, fluent in English,

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