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Beijing , Basel or Boston, a baby’s cry at birth is his primal sound. In 1963, Peter F. Oswald mad a phonetic analysis of the baby’s cry. He labeled the initial sound as a schwa [ə], (uh as in about), which linked the cry to a baby’s first word, “mama” [məmə]. “Mama” is the first word spoken by babies throughout the whole world. In Korea the word is “ama”, with the vowel preceding the consonant.” - (Brown 1998) p. 1

The sound identified by both Brown and Christy can therefore be described as the primal- or natural relaxed sound. As practical advice Brown suggest testing the sound through a range of exploratory exercises: making the “huh” sound in a short repetitive sequence (as if laughing), or a long relaxed sustained “huh” (like a sigh). He also suggests sliding the “huh” up and down the vocal range noting that the sound becomes lighter in the higher range and darker in the lower range. He means that this is natural and advises the singer to note his or her voice’s natural inclinations.

Judith Litante also mentions in Natural Approach to Singing (p32) that the vowels used in Italian forms a basis for the study of vowels in singing. She believes that “they are pure”. The reason for this is that Italian vowels are a compact basis for both English and other non Latin based languages. In English one finds many diphthongs. She means that employing these “pure” vowels or primal sound, as previously mentioned would eliminate the distorted pronunciation of diphthongs; for example extending the last syllable when singing “say”, it becomes “sayee” or “kind” becomes “kieend”. When the vowels are aligned and the vocal structures are in a natural posision, these kinds of distortion is eradicated.

2.2 Breath management

Breathing techniques need to be considered holistically and consciously controlled until it becomes an unconscious competence. Sufficient and natural supply of air is needed for voice production. A good posture is an essential part of breathing and should be developed to support the opera singer in his breath management (Brown, 2004:17). This view is supported by Mckinney (1994:46-64) who state that there is a direct and positive correlation between correct posture (diaphragm control, and muscular movements of the chest, back and abdomen) and effective breathing in singing.

According to McKinney (1994:48) breathing has four stages, namely a breathing-in period (inhalation), a setting-up-controls period (suspension), a controlled-exhalation period (phonation) and a recovery period. These stages should be repeated till the opera singer has the ability to go through the stages unconsciously. This process can be compared to the person who learns to drive a motorcar and has to concentrate on each step till he gets the ability to perform all the steps automatically. For the opera singer this refers to preparing to breathe, preparing for the phrase, physically singing the phrase and recovering in order for the process to repeat.

2.3 The vibrator

2.4 The resonator

2.5 The articulator

Classical Opera training and singing versus Singing pop or secular music

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