Chapter 1  第一章

lthough the art of singing can be learned only through singing, the systematic organization of vocal technique is the most efficient route to the realization of the primary goal: production of beautiful sound.
尽管唱歌的艺术只能通过唱歌来学习，但声乐技巧的系统组织是实现主要目标——产生美妙声音的最有效途径。
-Richard Miller, The Structure of Singing (1986), p. xxii
-理查德·米勒，《歌唱的结构》（1986），第 xxii 页

This book does not advocate a particular method of teaching singing. It presents a systematic approach based on scientific principles that-together with a voice teacher’s trained ears, intuition, creativity, and experience-guides singers toward technical proficiency. It is predicated on a belief that a systematic approach to teaching promotes efficient singing, which in turn enables great artistry. This book is born of decades of professional training and performance, as well as pedagogical study and teaching experience.
本书并不提倡特定的唱歌教学方法。它提出了一种基于科学原理的系统方法，这种方法结合了声乐教师的专业耳朵、直觉、创造力和经验，引导歌手达到技术熟练。它的前提是相信系统的教学方法能够促进高效的唱歌，从而使伟大的艺术表现成为可能。本书源于数十年的专业培训和表演，以及教育学研究和教学经验。

Teachers of singing have access to a wealth of information about the principles of voice production. There remains a need for a pedagogical framework in the service of studio application. This book presents an organizational template integrating scienceinformed principles of voice production and pedagogical application in the training of singing artists. Of its eight chapters, five focus on the systems of voice production: respiration, phonation, registration, articulation, and resonance. Each of the voice system chapters contains an overview of the mechanics of its designated system as well as key points for the teacher: “teacher takeaways.”
声乐教师可以获取大量关于声音产生原理的信息。仍然需要一个服务于工作室应用的教学框架。本书提供了一个组织模板，整合了基于科学的声音产生原理和声乐艺术家培训中的教学应用。在八个章节中，有五个章节专注于声音产生的系统：呼吸、发声、音域、发音和共鸣。每个声音系统章节都包含其指定系统的机械概述以及教师的关键要点：“教师收获”。

A unique focus of the book is to provide strategies for studio application through vocal exercises framed within a systematic approach.
本书的独特重点是通过系统的方法框架提供声乐练习的工作室应用策略。

Voice science has provided the basis of this organizational template from which to teach singing in the form of the five voice systems. Knowledge of both the independence and interdependence of these systems enables teachers to devise strategies for the training of a functional singing technique. The use of scienceinformed imagery can further elicit a kinesthetic response and promote understanding for singers. There are many layers to structuring a successful voice lesson. While artistry is an essential component of performance, a primary responsibility of the voice teacher is to guide the development of a reliable singing technique. Structuring voice lessons through a science-informed foundation enables teachers to build a dependable, systematic approach, and also provides an effective way to identify technical challenges, design corrective exercises, and create strategies for developing vocal efficiency.
声音科学为这种组织模板提供了基础，从中可以以五种声音系统的形式教授歌唱。了解这些系统的独立性和相互依赖性使教师能够制定训练功能性歌唱技巧的策略。使用科学信息的意象可以进一步引发动觉反应，并促进歌手的理解。构建成功的声乐课程有许多层面。虽然艺术性是表演的一个重要组成部分，但声乐教师的主要责任是指导可靠歌唱技巧的发展。通过科学信息基础构建声乐课程使教师能够建立一个可靠的、系统的方法，并提供有效的方式来识别技术挑战、设计纠正练习以及制定提高声乐效率的策略。

Voice teachers are much like Sherlock Holmes: they investigate technical challenges based on keen aural and visual observation. Rather than conjecture, a systematic approach provides a fact-based framework within which technical inefficiencies may be identified. It enables teachers to select, design, and sequence vocal exercises through a systematic lens based on principles of voice mechanics, remembering, of course, that changing one part of the system affects other parts and the whole. Employing a systematic approach based on a science-informed foundation provides the teacher with the full range of possible pathways to guide singers toward solutions. When the process is organized in this fashion, the teacher and student benefit because there is less speculation. The art of teaching is knowing how to facilitate and elicit the desired vocal outcome.
声乐教师很像福尔摩斯：他们根据敏锐的听觉和视觉观察来调查技术挑战。与其猜测，系统的方法提供了一个基于事实的框架，在这个框架内可以识别技术上的低效。它使教师能够通过基于声乐力学原理的系统视角选择、设计和排列声乐练习，当然要记住，改变系统的一个部分会影响其他部分和整体。采用基于科学知识基础的系统方法为教师提供了全方位的可能路径，以引导歌手找到解决方案。当这个过程以这种方式组织时，教师和学生都受益，因为猜测减少了。教学的艺术在于知道如何促进和引导所期望的声乐结果。

While the teacher provides guidance and direction during a 1esson, singing habilitation occurs with daily practice away from the teacher. A systematic approach enables the student to more accurately replicate the successful aspects of the lesson experience Iuring individual practice sessions because goals and strategies tre more clearly established. Teachers do not teach someone how $✓$$✓$✓\checkmark sing so much as bow to practice. A teacher provides the knowlalge and structure to facilitate vocal efficiency so that a student
在老师提供指导和方向的同时，唱歌训练在学生离开老师的日常练习中进行。系统的方法使学生在个人练习中能够更准确地复制课程体验的成功方面，因为目标和策略更加明确。老师并不是教学生如何唱歌，而是教他们如何练习。老师提供知识和结构，以促进声音的有效性，使学生能够
gains a comprehensive understanding of optimal practice habits for long-term skill acquisition. These improved practice habits result in more immediate results that ultimately lead to a consistent and reliable singing technique.
获得对长期技能习得的最佳练习习惯的全面理解。这些改进的练习习惯带来了更直接的结果，最终导致了一种一致且可靠的唱歌技巧。

A teacher’s knowledge, intuition, and creativity are essential to the art of studio application. Vennard wrote, “A versatile teacher tries as many approaches as possible until he discovers the one that works for each pupil” (Vennard, 1968 p. 191). A systematic approach enables a collaborative exploration of a singer’s technique with the individual needs of the student in mind. This approach empowers teachers to adapt to the genre and skill level of a singer because the principles of voice production provide a foundation from which to build. Constructive voice lessons help the singer engage in the learning process actively, not merely focus on achieving an outcome. When teachers acquire fact-based knowledge of the voice systems as their foundational approach, even as voice science evolves, a strategy for training a functional singing technique remains dependable as the baseline.
教师的知识、直觉和创造力对工作室应用的艺术至关重要。文纳德写道：“一位多才多艺的教师会尝试尽可能多的方法，直到他发现适合每个学生的那一种”（文纳德，1968 年，第 191 页）。系统的方法使得在考虑学生个体需求的情况下，能够协作探索歌唱者的技巧。这种方法使教师能够适应歌唱者的风格和技能水平，因为声音产生的原则提供了一个可以构建的基础。建设性的声乐课程帮助歌唱者积极参与学习过程，而不仅仅是专注于实现结果。当教师以基于事实的声音系统知识作为基础方法时，即使声乐科学不断发展，训练功能性歌唱技巧的策略仍然是可靠的基线。

A heuristic teaching method is one that encourages students toward experimentation and guided discovery. It empowers students to explore through an individual learning style. A systematic approach provides a template for clearly understanding the principles of voice production, and thereby stimulates the self-inquiry necessary to support a heuristic teaching method. This leads the student to better self-efficacy and autonomy. A heuristic teaching method inspires students to become lifelong learners and encourages independent investigation because they feel empowered by a foundation of knowledge. This enables singers to seek answers through trial, error, and experimentation. They learn to trust their instincts. A singer’s ability to evaluate their practice is invaluable in facilitating technical progress and, in time, prowess.
启发式教学方法是一种鼓励学生进行实验和引导发现的方式。它使学生能够通过个人学习风格进行探索。系统的方法提供了一个清晰理解声音产生原理的模板，从而激发了支持启发式教学方法所需的自我探究。这使学生更好地实现自我效能和自主性。启发式教学方法激励学生成为终身学习者，并鼓励独立调查，因为他们感到有知识基础的支持。这使得歌手能够通过试验、错误和实验来寻找答案。他们学会信任自己的直觉。歌手评估自己练习的能力在促进技术进步和最终的技巧方面是无价的。

There is a tradition in the field of voice teaching whereby a student finishes a song and immediately looks to the teacher to evaluate the success or failure of their singing, either by facial expression, gesture, or commentary. This is a necessary process at various stages of skill acquisition. However, students can become too dependent on the teacher’s response, preventing long-term gains (Verdolini, 1997). A heuristic method empowers the student by making the lessons student-centric rather than teacher-centric. It does not diminish the importance of mentorship and guidance; instead, it encourages a collaborative dynamic between the teacher (advanced learner) and student (learner). It fosters mutual respect by honoring the student’s process as an integral part of the learning experience. Singers are empowered to engage in the learning process, working toward autonomy in their journey to efficient and artistic singing.
在声乐教学领域，有一种传统，即学生在完成一首歌曲后，立即看向老师，以评估他们的演唱成功与否，通常通过面部表情、手势或评论来表达。这是技能获取各个阶段中一个必要的过程。然而，学生可能会过于依赖老师的反馈，从而阻碍长期的进步（Verdolini, 1997）。一种启发式方法通过使课程以学生为中心而非以教师为中心来赋予学生权力。这并不减少指导和辅导的重要性；相反，它鼓励教师（高级学习者）与学生（学习者）之间的合作动态。通过尊重学生的过程作为学习体验的一个重要部分，促进了相互尊重。歌手被赋予权力参与学习过程，朝着在高效和艺术性演唱的旅程中实现自主性而努力。

Kinesthetic singing tools are introduced throughout the book. These tools are used to elicit a positive kinesthetic response-a perceptual, physical, or acoustical adjustment during singing habilitation. Since singers spend the majority of their practice time away
本书中介绍了动觉歌唱工具。这些工具用于引发积极的动觉反应——在歌唱训练过程中进行感知、身体或声学的调整。由于歌手在大部分练习时间里远离
from the guidance of the teacher, these tools support reliable practice sessions. By providing structure, kinesthetic singing tools lead to improved accuracy in developing new motor skills. These tools can provide a more expeditious approach to a new and replicable sensory experience than ongoing explanations by a teacher. Voice teachers can be easily trapped in verbal explanations during the singing lesson. However, research has found that such verbal explanations have limited efficacy as a teaching or learning device (Verdolini, 1997). As with any vocal function exercise, the teacher and student must recognize the intent and understand the application of the kinesthetic singing tool in order to achieve the benefits.
在老师的指导下，这些工具支持可靠的练习课程。通过提供结构，动觉歌唱工具有助于提高新运动技能的发展准确性。这些工具可以比老师持续的解释提供更快速的方法来获得新的可复制的感官体验。声乐老师在声乐课上很容易陷入口头解释。然而，研究发现，这种口头解释作为教学或学习工具的有效性有限（Verdolini，1997）。与任何声乐功能练习一样，老师和学生必须认识到意图并理解动觉歌唱工具的应用，以便获得好处。

Kinesthetic singing tools are presented within each systematic chapter for which they are tailored. Chapter 3, the respiration chapter, presents a barre 3 ball, a large exercise ball, a Futuro Surgical Abdominal Support, a Flow-ball by POWERbreathe, and an exercise band as kinesthetic singing tools to develop effective breath mechanics. Chapter 4, the phonation chapter, describes the benefits of using semi-occluded vocal tract exercises, such as straws and water bubbles, for developing vocal efficiency. Chapter 6, the articulation chapter, introduces gauze, candy, and wine corks as useful tools for deconstructing patterns of recruitment. Chapter 7, the resonance chapter, presents the use of a chopstick, the singer’s thumb, and a mirror. Kinesthetic singing tools are beneficial to the process of habilitation and for the correction of a variety of vocal challenges. They aid in eiliminating extraneous muscle activity, which must precede the work of training new singing strategies. Throughout the process, new patterns of coordinated voice production develop. The goal is to use the kinesthetic singing tools until such a time as they are no longer needed. Once long-term skill acquisition is achieved, the tools need only be used as an infrequent reset.
每个系统章节中都提供了针对其量身定制的动觉歌唱工具。第三章，呼吸章节，介绍了一个 3 号杆球，一个大型健身球，一个 Futuro 外科腹部支撑，一个 POWERbreathe 的 Flow-ball，以及一个健身带，作为动觉歌唱工具，以发展有效的呼吸机制。第四章，发声章节，描述了使用半闭合声道练习（如吸管和水泡）来提高声乐效率的好处。第六章，发音章节，介绍了纱布、糖果和酒塞作为解构招募模式的有用工具。第七章，共鸣章节，介绍了使用筷子、歌手的拇指和镜子。动觉歌唱工具对康复过程和纠正各种声乐挑战是有益的。它们有助于消除多余的肌肉活动，这必须在训练新的歌唱策略之前进行。在整个过程中，新的协调声音产生模式得以发展。目标是使用动觉歌唱工具，直到不再需要它们为止。 一旦实现长期技能的获得，这些工具只需作为不频繁的重置使用。

It is perplexing that kinesthetic singing tools are sometimes dismissed as tricks. Unlike other athletes who depend on visible outcomes, singers must rely upon internalized physical sensations, rendering kinesthetic singing tools both necessary and particularly useful. Baseball players, football players, and golfers have the benefit of seeing results by the trajectory of a ball, whereas singers learn without a visible representation of their efforts. Kinesthetic singing tools are a valid addition to a practice regimen because they provide both visible and sensory feedback during the learning process.
令人困惑的是，动觉歌唱工具有时被视为把戏。与依赖可见结果的其他运动员不同，歌手必须依赖内化的身体感觉，这使得动觉歌唱工具既必要又特别有用。棒球运动员、足球运动员和高尔夫球手可以通过球的轨迹看到结果，而歌手则在没有可见表现的情况下学习。动觉歌唱工具是练习方案中有效的补充，因为它们在学习过程中提供了可见和感官反馈。

A teacher’s intuition and knowledge guide the direction of a voice lesson and determine how to adapt and modify the vocal exercises presented in this book. Alterations are anticipated in order to accommodate the individual needs of the singer, including technical considerations or stylistic diversity. These modifications will depend on the voice type and skill level of a singer and on genreinformed strategies. Some alterations to be considered are range, rhythmic patterns (e.g., syncopation), harmonic structure (e.g., major to minor), tempo, vibrato choices (e.g., whether to delay the vibrato or allow at vocal onset), and a continuum of resonance strategies determined by stylistic elements of a particular genre. The vocal exercises are presented within a systematic approach to a functional singing technique, enabling excursions into a broad range of vocal aesthetics across genres. Although emotive cues are not included within the exercises, singers will find it helpful to use the association of an emotion as a reminder that the ultimate goal of performing is to communicate thoughts and feelings. At some point in vocal training, artistry and technique must be juxtaposed. The art of teaching entails successful collaboration between teacher and student in assessing and modifying the exercises to facilitate optimal outcomes.
教师的直觉和知识指导声乐课的方向，并决定如何调整和修改本书中呈现的声乐练习。为了适应歌唱者的个体需求，包括技术考虑或风格多样性，预计会进行调整。这些修改将取决于歌唱者的声部类型和技能水平，以及基于流派的策略。需要考虑的一些调整包括音域、节奏模式（例如，切分音）、和声结构（例如，从大调到小调）、速度、颤音选择（例如，是否延迟颤音或在声音开始时允许颤音）以及由特定流派的风格元素决定的共鸣策略的连续体。声乐练习以系统的方法呈现，旨在实现功能性歌唱技巧，使得能够在不同流派中探索广泛的声乐美学。尽管练习中没有包含情感提示，但歌唱者会发现，使用情感的联想作为提醒是有帮助的，因为表演的最终目标是传达思想和感受。在声乐训练的某个阶段，艺术性和技巧必须并置。 教学的艺术涉及教师和学生之间成功的合作，以评估和修改练习，从而促进最佳结果。

It is not the job of the voice teacher to diagnose beyond the scope of technical inefficiency. If a student presents with an ongoing vocal health concern, they must be referred to a qualified laryngologist or otolaryngologist-voice specialist and potentially to a voice team (Ragan, 2017). A voice teacher may be inclined to conjecture a medical diagnosis but must adhere to their scope of practice and refer to voice team specialists when necessary.
声乐教师的工作不是超出技术效率范围进行诊断。如果学生出现持续的声乐健康问题，必须转介给合格的喉科医生或耳鼻喉科-声乐专家，并可能转介给声乐团队（Ragan，2017）。声乐教师可能倾向于推测医学诊断，但必须遵循其执业范围，并在必要时转介给声乐团队专家。

This book presents a framework for the integration of scienceinformed principles of voice production and pedagogical application in the training of singers. This framework acknowledges the importance of genre-specific and stylistic elements that, when lay-
本书提出了一个框架，用于将科学知识的声音制作原则与声乐训练中的教学应用相结合。该框架承认了特定类型和风格元素的重要性，当这些元素被应用时——
ered on the foundation of a functional singing technique, enables artistic integrity. Learning to sing is a lifelong journey. There is no point of arrival for the singing artist, rather an ever-evolving destination. Singers must be encouraged to embrace the process and “buckle up and enjoy the ride.” Even when proficiency in singing technique is attained, there will be constant recalibration within the voice systems as each new song brings subtle alterations to the many facets of technique and artistry. Ongoing physiological changes will continue to impact the voice across the span of a lifetime. The joy in the journey is that with each passing year, a singer has richer life experience from which to draw for artistic expression.
基于功能性唱歌技巧的基础，能够实现艺术的完整性。学习唱歌是一个终身的旅程。对于歌唱艺术家来说，没有到达的终点，而是一个不断演变的目的地。歌手必须被鼓励去拥抱这个过程，并“系好安全带，享受旅程。”即使在唱歌技巧上达到了熟练程度，声音系统也会不断进行重新校准，因为每一首新歌都会对技巧和艺术的许多方面带来微妙的变化。持续的生理变化将继续影响声音，贯穿一生。旅程中的乐趣在于，随着每一年过去，歌手拥有更丰富的生活经验，可以用来进行艺术表达。

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Vennard, w. (1968). Singing: The mechanics and the tecbnic (5th ed.). New York, NY: Carl Fischer.
Verdolini, K. (1997). Principles of skill acquisition applied to voice training. In M. Hampton & B. Acker (Eds.), The vocal vision: Views on voice by 24 leading teachers, coaches and directors (pp. 65-81). New York, NY: Applause.
Verdolini, K. (1997). 技能获取原则应用于声音训练。在 M. Hampton 和 B. Acker (编辑)，《声音的视野：24 位杰出教师、教练和导演对声音的看法》（第 65-81 页）。纽约，NY：Applause。

Selected Resource 选择的资源

Brunssen, K. (2018). The evolving singing voice: Changes across the lifespan. San Diego, CA: Plural Publishing.
Brunssen, K. (2018). 不断发展的歌唱声音：生命周期中的变化。加利福尼亚州圣地亚哥：Plural Publishing。