Dubster: McCoy chpt 1

The thing I found most interesting in this chapter was the use of paired/opposite descriptors in the table to describe sounds of the voice. It provided a fairly understandable outline of what the sound was for each singer listed in the examples, and also was able to go across multiple styles without too much confusion. This comes from my own classical-taught perspective, however, so these descriptors could just be classical centric examples that happen to make sense to me across different styles. The examples given also showed a majority of classical singers, which could also be the reason for using those descriptors. 

Another interesting thing this chapter briefly covered were signs of damage in the voice. Some of the examples made sense, like uncontrolled raspiness, but something like having a very wide vibrato being a sign was something I had never heard before. It is interesting how many little things in the voice can mean something is happening that you can sometimes pinpoint even though you can't see what is happening.

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