INTRODUCTION This thesis is towards discovering the factors responsible for a good voice. Good music is created when Voice produces the sound at the correct pitch, accurate frequency and with good quality. Voice culture is the science of perfecting and using one's voice effectively, It is also called science of the human voice. Voice is also an instrument for a vocalist to communicate his musical ideas. It has to be kept finely tuned. And Voice Training and Voice Culture helps to improve its quality, its power and endurance. Voice is the only instrument that can be cultivated, improved and cultured, by variation of pitch, intensity and timbre (tonal quality) In Sangeeta Ratnakar sarira 1 is a term which refers to a gifted voice without any regular practice. Sareera is a natural voice. The Voice training method turns the gifted natural instrument into an exquisite and melodious Vadhyam or instrument. Sanskrit Sholok : Vidhyadanena tapasa bhaktiya va parvatipateh Prabhuta bagyavibhavah susariram avaptate 2 (Sangeet Ratnakar) Voice is an only instrument that can be cultivated, improved and cultured by variation of pitch, intensity and timbre (tonal quality).indian Classical Music is based on spirituality. For a vocalist of Indian Classical Music Voice is to sing the glory of God. Any determined effort focused towards attaining perfection is called Sadhana. A vocalist has to exercise and make the vocal 1 VOICE CULTURE-S A K Durga,pg no 144 2 VOICE CULTURE-S A K Durga,pg no 144 i
cord music worthy towards attaining perfection and is called Kantha Sadhana. In Western Music it is called Voice-Culture. Indian Classical Music is always connected with spirituality, When a vocalist of Indian Classical Music sings in correct tone, the whole environment becomes spiritual and soothing. It seems to pour forth freely from the Heart spontaneously. There is no evidence of calculation, of carefully directed effort, of attention to the workings of the voice, in the tones of a perfect singer. All the Teachers and Authorities of Voice Culture believe that this manner of handling the voice must be acquired by every student of singing or vocal music, in course of carefully directed study. This training in the use of Voice is the most important feature of education in Vocal Music or singing. Voice Culture embraces the correct management of the vocal organs. Vocal training has indeed come to be considered synonymous with training in the correct use of the Voice. Every method of instruction in singing must contain as its most important element some means for dealing with the problem of tone-production. In Indian Classical music both Hindustani and Carnatic, the teaching of Voice production has been purely on empirical basis so far, relying on the pernicious system of trial and error, with the result that this branch has been exposed to more charlatanism. 3 A proper understanding of the structure and foundation of the physiological mechanism, acoustical principles of voice emission and psychological factors of the individual help to deduce scientific facts which would guide through the tangle of confusion which has beset the art of Voice Culture. 3 S A K Durga -VOICE CULTURE, with special reference to South Indian Music pg no1 ii
Voice training has become imperative in the current scenario, it helps Voice flexibility and ensures Control of Breath, Uniformity in voice, Clarity in voice, Articulation, Resonance, Vocal range. Scientific and the medical aspect of voice culture is to maintain Voice hygiene and preserve the voice from voice disorder. There are difference between musical knowledge and presenting that musical knowledge by impressive singing. In the past many musicians ignored the importance of a melodies voice, they gave importance to the knowledge of the music and the different techniques of music. Although the classical system of music has been enriched with many exercises to develop the skill of singing, a comprehensive study of all the scientific aspects related to voice cultivation and also the practice of technically developed exercises will help the singers to analyze the own voice and to manipulate the vocal apparatus for the perfect voice modulation. Here there is a very important fact that an effective and impressive voice is a must for singers to succeed. That s why Voice Culture is becoming very important for a singer, one interesting thing is that it is helpful for other professionals also like Public Speaker, Actor, Teacher whoever is related with impressive voice. As a concept, an ideal voice differ according to the System of Music, Western music is based on Harmony, Indian music is based on Melody, Carnatic music has its own unique style, In Hindustani music every Gharana s voice training is different. Soft singing is necessary in film music. But the best voice is which is most flexible. Voice training has become imperative in the current scenario, it helps Voice flexibility and ensures Control of Breath, Uniformity in voice, Clarity in voice, Articulation, Resonance and Vocal range. Scientific and the medical aspect of voice culture is to maintain Voice hygiene and iii
preserve the Voice from Voice disorder. This research aims at to find out the different methods to improve the quality of voice. OBJECTIVE OF THE THESIS The thesis revisits the key concepts the of Voice Culture Methods based on different methods of Voice training in Hindustani Classical Music, addressing these methods as suggestive form. In doing so, the thesis aims to explore the possibilities of further integrating patterns of voice training in Hindustani Vocal Forms so as to enhance performance experiences. The thesis also investigates how different vocal style training affect both the singer and the presentation of singing style. The thesis therefore emphasizes on design as an important component to investigate how the correct voice training methods can be enhanced. It is conceived as a metaphor that develops ideas in Hindustani Classical music and how it then creates other possibilities of training the voice. Voice culture is an advanced stage of voice training. A proper understanding of the structure and foundation of the physiological mechanism, acoustical principles of voice emission and psychological factors of the individual help to deduce scientific facts which would guide through the tangle of confusion which has beset the art of voice culture. Since voice is the result of the proper use of certain muscles of the body, an elementary knowledge of the structure and function of these muscles is almost indispensable for voice cultivation. The concept of voice culture and care has gained a lot of significance in recent time. Today a good voice is not only restricted to classical music, a good voice can be use in other professions like radio jockeying, jingles, voiceovers and last but not the least in the iv
teaching professions as well. With more and more people taking on such professions, the need for a good cultured voice has become very essential. I found it very interesting subject for research this inspired me to choose the subject Method to improve the voice quality through voice culture for my P.HD program. As a vocal music student, I was always interested in voice production and voice related subject. As a vocal music teacher, to teach music students and to give them new ideas and information about voice. I have selected this topic for research because I felt there was a need for the documentation of the traditional and science of voice production together to train the voice for Hindustani classical music. As the researcher, I did not have any science background, this study will help develop inquisitiveness towards the science of voice production in singing. A study to establish the techniques to improve the voice quality through traditional and scientific aspect of voice training. To document the knowledge and use of science of voice production in the vocalist s voice. The main aim of the study is to introduce scientific aspect of voice culture with the traditional method to help the vocalist to sing well and preserve voice from disorders. To study whether New Techniques of voice culture helps to train the voice for singing different forms of Hindustani Classical Music. Although Indian classical music has been enriched with many exercises to develop the skill of singing, but voice culture is about to analyze the voice by scientific aspect v
The main aim of the study is to introduce scientific aspect of voice culture with the traditional method to help the vocalist to sing well and preserve voice from disorders The methods to maintain the vocal hygiene how to preserve the voice from voice disorders. OUTLINE OF THE THESIS CHAPETARISATION In the first Chapter, the characteristic of Voice culture has been described a) Voice Culture is a study of Voice and, technique of good voice and voice production. b) Voice Culture s techniques and exercises are developed after an in-depth study of Physiology Anatomy, Psychology, Physics, Yoga and Music. c) The supremacy of the voice as compared to other musical instruments. d) The voice is used for the purpose of singing as supposed to speaking are dealt with. The technique of voice production for singing is more complex. e) The quality of the voice in singing and speaking is conditioned by anatomical peculiarities of the face, language and civilization. f) The importance and need of Voice culture is to understand the scientific aspect of voice culture with the traditional method of voice training both the technique will help the singers to analyze one s own voice to produce good voice quality and preserve the voice from disorders. In the Second Chapter the use of voice in ancient Indian text has been described. a) The treatment of voice has been described in our ancient texts. b) The science of voice production can be traced from the four Vedas. vi
It is said that the origin of Indian music lies in chanting of the mantra of SamaVeda. c) In ancient time the singer s voice is denoted by the term Sarira It has been defined as that which can bring out the beauties of a Raga without undergoing any training and has come out with the body is Sarira. Sarandeva has mentioned this in Sangita Ratnakar. d) Nada Yoga Indian culture including its Music has its origin in Nada Yoga.The relation of Yoga, Voice and Music. e) Voice or Sound occurs in four levels and dimensions. These four levels of Voice relate to frequency, fineness, perceiving level and strength. f) Reference of Voice hygiene in Ancient Text g) The merit and demerit of an Voice has been described by the Sangita Laksankaras their comparison in terms of modern knowledge of Anatomy and Physiology. In the Third Chapter the usefulness of Voice culture to train the voice to sing has been described: a)the style of breathing determines the quality of the voice to a large extent. Hence correct breathing habits should be well established in the early years itself. b) Voice Culture give us the correct direction to develop the vocals without any vocal abuse. Strain our throats in order to get a louder singing voice could result in vocal abuse or damage, because many of us may squeeze our vocal cords to get a louder singing voice. vii
c) Increasing the vocal range is one of the things that allows a singer to be versatile. Our vocal range is our ability to sing comfortably either high or low notes. Usually our range is measured in Saptak or octaves. d) Resonance is responsible for making the voice it sounded is more beautiful. Our vocal chords are far more complex, more capable than any instrument, can imitate nearly every instrument. In comparison, it sounded is more beautiful. No instrument can bring as much emotion and feel in a song than a human voice. e) Sustaining a note or any Swara which is completely in tune for various seconds is that the pleasure it provides for the vocalist when reaching the peak of the song is elements utilized during a skilled singing concert. In the Fourth Chapter the practical voice training of Hindustani Classical Music has been described a) The classical system of music has been enriched with many exercises to develop the skill of singing, b) Practice of 7 notes and knowledge of Octave, Selection of Correct Pitch and Scale, Importance of Kharaj practice or Kharaj Sadhana, Practice of Palta or Alankar, Preparation of voice for Raga presentation, Importance of Aalaap in Voice Culture, Importance of Taan,Importance of Articulation in voice culture, Attaining the concept of Laya (periodicity) while singing has been described. viii
c) With the traditional method of voice training,a comprehensive study of all the scientific aspects related to voice cultivation and also the practice of technically developed exercises will help the singers to analyze one s own voice. In the Fifth Chapter I have been described role of voice culture in different vocal forms of Hindustani classical music a) There is a variety of Indian vocal styles with great diversity in classical music. Voice Culture s aim is to gain the control of the voice to sing the chosen vocal form aesthetically. b) Role of Voice Culture in Different Vocal Forms of Hindustani Music- Dhrupad,Dhamar, Khayal etc and basic training in Carnatic and Western Music. In the Sixth Chapter The Application of Voice Culture In Hindustani Classical Music has been described a) Till now I was describing basics of voice culture, In this Chapter I have described Voice culture s methods in specific voice training. b) The voice training method in institutions or education systems. c) The traditional method of voice training the Gharana system of vocal music. Style of Gharana systems are itself is a topic to research. It is a vast subject to deal. Many good work has already been done on different gharana s vocal style. So I have taken few prominent gharana and their basic voice style. ix
d) The uniqueness of a voice or the inborn quality of voice which is find in famous vocalists because the ornaments or the esthetics easily come out from their voice. I have described it only as a part or possibilities of Voice culture methods. In the Seventh Chapter the New Approach, Possibilities of Voice Culture has been described a) Possibilities in understanding of subject Voice culture b) New appoarch and few suggestions. c) The Analytical study of Voice culture At the end, I have given the source of data which I have used to write this thesis and Bibliography and lists of books and websites I have visited has been described. The research does not include In the process of this thesis work, the subject came out to be very vast but to keep the thesis easy and meaningful to the context, It was necessary to stream line few things, I have tried to focus my research on practical methods of voice culture, which can be used as voice culture methods. The few points which have not been described in details are : a) The detailed study of the Science of Voice production. x
b) The Gharana s nuances. Gharanas in Hindustani classical music itself is a topic to research. Many good research and work have been already done in gharana systems. c) The details of voice training in institutions. The music learning in school, college and universities is a vast topic, so I have taken it as a small part of my thesis. d) The uniqueness of voice quality. Every famous vocalist of Hindustani classical music has uniqueness in their voices. Many research and books already has been written on the famous vocalists and musicians. The main aim of this thesis is to explain the voice culture methods and its need and benefits. Benefits of scientific voice production and the traditional method of voice training which is called Kanth Sadhana in Hindustani classical music. In the conclusion of the thesis, detailed analysis of the thesis work has been described. At the end in bibliography, I have given the list of books and websites which I have used for reference. xi
CONTENTS CHAPTER 1 VOICE CULTURE Page No 1.1) What is Voice Culture? 1-7 1.2) Involvement of other important subjects in Voice Culture. 8-9 1.3) Voice and its greatness as a Musical instrument. 10-11 1.4) How to cultivate the Speaking Voice into a impressive Singing Voice. 12-18 1.5) Science of Voice Production. 19-29 1.6) What is Voice quality? 30-32 1.7) Basics of Voice Culture. 33-35 1.8) The benefits, importance and need of Voice Culture 36-37 CHAPTER-2 VOICE AND ANCIENT INDIAN TEXTS 2.1) Reference of Voice according to Ancient Indian Texts. 38-44 2.2) Metaphysics of Production of Voice. 45-51 2.3) Relation of music and the Chakra. 52-57 2.4) Nada Yoga - The Yoga of Sound 58-65 2.5) Four Stages of Voice in Ancient time. 66 2.6) The Merit and Demerit of the Voice Shariram in ancient period. 67-76 2.7) Methods to maintain the voice in ancient text. 77-81 xii
CHAPTER -3 THE EFFECTIVENESS AND USEFULLNESS OF VOICE CULTURE xiii Page No 3.1) Control of Breath. 82-92 3.2) Power in Voice while Singing or Vocal Projection. 93-97 3.3) Extending the Vocal Range. 98-105 3.4) Resonance in singing. 106-109 3.5) Vocal sustain on Musical notes or Swara. 110-114 CHAPTER-4 THE PRACTICAL ASPECT OF VOICE TRAINING IN HIBDUSTANI CLASSICAL MUSIC 4.1) Selection of Correct Pitch and Scale. 115-123 4.2) Practice of 7 notes and knowledge of Octave. 124-126 4.3) Importance of Kharaj practice or Kharaj Sadhana. 127 4.4) Practice of Palta or Alankar. 128-135 4.5) Practice of 'Merukhand'-gayaki. 136-141 4.6) Practice of Sargam geet and Lakshan geet. 142-145 4.7) Knowlegde of 10 Scales. 146-149 4.8) Importance of Aalaap in voice culture. 150-153 4.9) Importance of Taan in voice culture. 154-160 4.10) Ornaments of Vocal Music. 161-165 4.11) Importance of Vowels Aa Ee Oo and Articulation. 166-170 4.12) Voice training with Tala. 171-175
CHAPTER -5 THE USE OF VOICE FOR DIFFERENT MUSICAL FORMS IN HINDUSTANI CLASSICAL MUSIC Page No 5.1) Role of Voice Culture in Vocal forms 176-180 5.1.1) Dhrupad. 181 5.1.2) Dhamar. 182 5.1.3) Khayal. 183-186 5.1.4) Tarana. 187 5.1.5) Tappa. 188 5.1.6) Thumri. 189 5.2) Voice Techniques of Different System of Music 5.2.1) Voice Culture and Carnatic Vocal Music. 190-194 5.2.2) Voice Culture and Western Vocal Music. 195-196 CHAPTER 6 THE APPLICATION OF VOICE CULTURE IN TRADITIONAL METHODS AND INSTITUTIONAL METHODS OF HINDUSTANI CLASSICAL MUSIC 6.1) Voice culture in Traditional Methods and Institutions 6.1.1) Gharana System. 197-206 6.1.2) Voice culture methods in Institutions. 207 6.2) The concept of Ideal Voice or Uniqueness of voice. 208-211 CHAPTER-7 NEW APPROACH AND POSSIBILITIES OF VOICE CULTUR IN HINDUSTANI CLASSICAL MUSIC 7.1) Approach of Voice Culture in Hindustani Classical Music. 212-234 7.2) Analytical Study and techniques of Voice culture. 235-242 xiv
CONCLUSION APPENDIX-I ( Vocal management) APPENDIX-II I-VII VIII-XII XIII-XVII List of Charts List of Figures List of Tables BIBLIOGRAPHY XVIII-XX Enclosures- COMPACT DISC ( CDs) i) Discography (Interviews with Musicians On Voice Culture Methods) ii) The vocal demonstration of voice training methods and different vocal forms of Hindustani classical music by the candidate. xv