knowledge and communication in bel canto singing- an apprentice's perspective

KNOWLEGDE AND COMMUNICATION IN BEL-CANTO SINGING: AN APPRENTICE’S PERSPECTIVE

S.J.Q., Choo

Department of Mechanical Engineering, Na5onal University of Singapore, Singapore Abstract: Knowledge of vocal techniques or expressive nuances in performance is rarely articulated,

since many components of the vocal mechanism cannot be seen and hence are difficult to externalize. Expressive nuances, also termed as musical prosody, encompass variations in musical events such as pitch, tempo and intensity and phrasing. These events are influenced by socio-cultural factors and hierarchical rules that underpin the composer’s message and intent. While one may acquire aspects of explicit knowledge of musical prosody and vocal techniques, they cannot replace the value of traditional one-to-one voice instruction. Vast amounts of knowledge- musical and personal are embedded in the master’s intuitive musical expectations, skills and value systems. Effective externalization of the master’s knowledge is key in clarifying abstracted notions of technique and expression to the student. Strategies of externalization include dialogue, visualization and gestures in experiential learning. Finally, one’s appraisal of acquired knowledge through active repetition and reflection facilitates “indwelling”, arriving at consistency in vocal technique and artistry in Bel-Canto singing. Keywords: Knowledge, Communication, Apprenticeship, Prosody, and Gestures

References: Burwell, K. (2012). Apprenticeship in music: A contextual study for instrumental teaching and learning. International Journal of Music Education, 0255761411434501–. doi:10.1177/0255761411434501 Godøy, R. I. (2009). Musical gestures: Sound, movement, and meaning. Routledge. Juslin, P. N., & Sloboda, J. A. (2001). Music and emotion. Molnar-Szakacs, I., & Overy, K. (2006). Music and mirror neurons: from motion to’e’motion. Social cognitive and affective neuroscience, 1(3), 235–241. Palmer, C., & Hutchins, S. (2006). What is musical prosody? Psychology of learning and motivation, 46, 245–278. Polanyi, M., & Sen, A. (1983). The tacit dimension. Peter Smith Gloucester, MA.

Bel-‐Canto singing is a tradi0onal oral process passed down from master to student through genera0ons. In singing, much knowledge is embedded in implicit and tacit forms. Tacit knowledge is personal, context specific and hard to communicate (Polanyi & Sen 1983). Figure 1 below gives an overall schema0c representa0on of musical events placed on the spectrum of explicit-‐ tacit knowledge scale. Experien0al knowledge is communicated from master to the appren0ce through demonstra0on and descrip0on of the results to be achieved and the accompanying sensa0ons. The master demonstrates, advises, ques0ons and cri0ques. The student watches, observes, imitates and seeks approval (Burwell, 2012). Nuances in associated with music expression and emo0on oQen dis0nguishes expressive and inexpressive performances (Palmer & Hutchins, 2006). These nuances are oQen communicated by the

master’s strategies via metaphors, gestures and visualiza0ons (Godøy, 2009; Juslin & Sloboda, 2001; Molnar-‐Szakacs & Overy, 2006). E xp l i c i t documenta0on o f p rocesses and communica0on of knowledge in Bel-‐canto singing drives clarity and awareness in music, ar0stry and technique. Learning can only be completed when the student examines and internalizes the teachings of the master, by reflec0ons, prac0ce and doing. A schema0c of knowledge conversion processes in Appren0ceships in Bel-‐Canto singing is given in Figure 2.

Corresponding author: Choo Jun Quan, Stefan, Department of Mechanical Engineering, Na0onal University of Singapore Email: [email protected]

Acknowledgements: Tenor Brendan-‐Keefe Au, my dearest friend, voice teacher and mentor for being my inspira0on, source of support and encouragement in classical singing.

Figure 1: Knowledge schema?c: Depth of musical events in Singers

Explicit Knowledge

Implicit Knowledge

Tacit Knowledge-‐ Truth, Nature Experien?al

U0lized Knowledge

Learning by Doing/

Reflec0ons

Discovering New

Knowledge

Apprehend Appraise

Explicit Knowledge gained through study of music theory, context, research and prosody

Figure 2: Appren?ceship as a knowledge conversion process