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Vocal Ecosystems Beyond Pedagogy: Working with Challenges

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Vocal Ecosystems Beyond Pedagogy: Working with Challenges Literacy Information and Computer Education Journal (LICEJ), Special Issue, Volume 4, Issue 1, 2015 Vocal Ecosystems Beyond Pedagogy: Working With Challenges Jeri Brown Concordia University Canada Abstract Knowledge of vocal improvised music, whether demonstrated in the communication of the two demonstrated by high or low obscure pitch sounds, principal artists. The use of tone matching also the beating of the chest while making music sounds, stimulates the harmonic musical language and mood vocal pitch matching or vocal animation with or in this piece. In both pieces, composer, trumpet and without the use of technology, has paved the way for flugelhorn player Kenny Wheeler creates poetic a steady stream of vocal artists through the years, artistry with voice, tenor and arranged orchestra. each dedicated to vocal exploration. While jazz vocal Horn and voice are well suited to the complex improvisation appears on the surface to involve few material fusing personas in the signature over or no rules, it is a form of communication between layering of cadenzas that reoccur in his works with a artist and listener, where the artist adheres to a set focus on emotion and sentiment [4]. of rules or principles. Here the jazz improviser is The use of vocal language and musical treated as part of an ecosystem, a concept in the intelligence in improvisation creates added biological sciences that comprises a set of stimulation in the improvised vocal delivery. interacting organisms and environments in a particular place. Within the jazz vocal 2. Characteristics of jazz vocal improvisational ecosystem there are various roles, improvisation approaches and activities. What follows is a description showing how the analogy with biological ecosystems can be applied to a ‘vocal ecology’, how The jazz singer uses their senses to work with air, this viewpoint may also aid the improvising jazz heart, soul, throat, diaphragm, tongue, guts and vocalist in artistic expression and considerations for various other organs necessary to produce vocal the vocalist with vocal difficulties in communication. experimental wonders. Key characteristics necessary for the jazz vocal improviser include: .Personalized sound 1. Introduction .Demonstrated ability to explore and integrate discovery in the actualization, The singing voice is evidenced primarily through consumption and delivery of music, sound, a combination of sonancy, intonation and cadence. noise and silence Such evidence informs the listener and singer of the .Ability to work with others in the creative quality of vocal production and provides every singer processing of improvised music with a unique fingerprint of sound. In jazz, the .Internal feeling of chord roots execution of vocal delivery is subjective largely due .Refined working knowledge of musical to the taste of the listener and the preparedness of the intelligence as in song structure, melody, singer. Acquiring a trained skill level through harmony, and rhythm dedication, instruction and regular practice remains a .Instrumental awareness crucial element for attaining and improving vocal .Animated, creative, whimsical temperament performance credibility. Vocal technique characteristics of the jazz vocal In the co-written composition of Kenny improviser include: Wheeler’s Gentle Piece with Jeri Brown lyric, a high .Fluid tonal delivery throughout registers level of vocal credibility is demonstrated through the .Pristine, smooth vocal expression use of music intelligence as a central part of the .Clear, limber ornamentations communication process between voice and .Proficient breath support flugelhorn. The use of tone matching further .Use of performative inflections when enhances the harmonic musical language to reinforce stating phrases a mood between voice and flugelhorn along with .Perspicuous diction in the use of words as jazz piano, bass, and drums. Tone matching is a in lyrics, song stories, nonsense syllables characteristic of vocal language. In Who Are You, and sub-languages another Kenny Wheeler composition, a high level of vocal credibility is also Copyright © 2015, Infonomics Society 2120 Literacy Information and Computer Education Journal (LICEJ), Special Issue, Volume 4, Issue 1, 2015 3. The improviser as part of an ecosystem 4. Vocal language domain as improvisation aid In the biological sciences an ecosystem is a concept that comprises a set of interacting organisms In the vocal language domain the vocal and environments in a particular place. Each system improviser uses music as a language to communicate has its own set of musicians, styles and interactions. and create a body of music, often using music as a These systems overlap, merge into one another and metaphor from which to resonate an authentic texture are probably impossible to circumscribe perfectly. of heartfelt personal expression. Vocalists may also Hip-hop, avant-garde, jazz, swing and standards are use their voice as an instrument to further break apart all examples of music systems each with its own limits of traditional communication, thus pioneering styles, performers, and rules. sounds with and without the use of effects that Similarly, a vocal ecosystem is a concept that transmit language to convey meaning. Much like provides a systematic approach which may be useful systems in sciences, a vocal improviser equipped during the process of vocal improvisation. The with a common language system can be stimulated to concept comprises a set of interacting domains that communicate. enhance musical stimuli in a particular way. These In Jimmy Rowles’ The Peacocks, the use of an domains behave like living organisms because they invented vocal language and ethereal environment evolve, propagate their organization and interact domain aids the vocal improviser in painting a story among themselves. When utilized in conscious free about two peacocks while interacting with a Chinese play they form the basis of a type of communication flutist with jazz piano, bass and drum. With Michel between artist and listener [2]. Dubeau on flute, sensuality is enhanced in the call When jazz vocalizing involves a deliberate quest and response of the voice and shakuhachi flute, for improvisation, the singing performer may relating to the senses of sight, smell, hearing and intentionally use stimuli to prompt imitative behavior. touch [9]. The vocalist’s expressive powers are heard The implementation of the four principal domains– at their best on this set during her lengthy, wordless vocal language, culture, sound and environment interplay with flute. We hear the improvising voice enhances musical stimulation in vocal improvisation. and Chinese flute interacting in a seemingly seamless For the jazz vocalist, including one or more of these erotic communication where the sounds of the two domains in a musical improvisation will aid her ‘voices’ begin to connect with the listener as if they ability to create, build and participate in were both of human form in conversation [4]. Here improvisation. the vocal improviser deconstructs American jazz The creation of vocal ecosystem as a term pianist and composer Jimmy Rowles’ classic turning borrows parts of its philosophy from the 1969 study it into a rich vocalization. by anthropologist Ralph Holloway of contrasting In a later recording of The Peacocks aka A human and non-human primate learning strategies. Timeless Place with Rowles at the piano, this classic He describes the "ratchet effect" as a method that has 1994 lyrical vocalese features the same vocal enabled humans to evolve and adapt to complex improviser with added lyrics by Norma Winstone social systems. In 1999 comparative psychologist without disturbing the original ethereal environment Michael Tomasello expanded the metaphor to shed domain aid [8]. light on the evolution of human culture by renaming Joint vocal engagement or joint vocal attention it the “cultural rachet”. Adding, “Once a certain describes a process where the vocal improviser invention has been made, it can jump from one mind recognizes herself as an intentional agent in the to another (by means of imitation) and thus a whole ensemble. Her ability to demonstrate musical population can acquire a new trait…” [7]. leadership, skill and power allows the singer to A similar effect takes place in the interaction of concurrently select and demonstrate vocal choices the jazz vocal improviser between the contributing leading the musicians toward a type of communal musicians and listener. When one vocally transmitted cohesiveness. musical idea, as in a phrase, triggers a significant In the initial recording of The Peacocks musical reaction from the musicians with continuing or leadership is exhibited through the vocal repetitive effect in some form, during the improvised improviser’s choices of sound and vocal texture. It work, it is as if a main idea has been adopted as a stimulates interaction between voice, flute, bass and new trait. Seeking such stimulation becomes a key piano demonstrating a joint engagement with all factor in aiding the creative and musical interaction musical participants committed to enhancing and of the vocalist. supporting the vocal improvisation. The delicate, sensual improvisation is handed down by the vocal improviser’s light, clear-tone delivery setting the tone for Rufus Reid on bass and Kirk Lightsey on piano to follow in kind with key aesthetics. Copyright © 2015, Infonomics Society 2121 Literacy Information and Computer Education Journal (LICEJ), Special Issue, Volume 4, Issue 1, 2015
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