Chief Justice Charles Evans Hughes once wrote,
“We are all of us three persons: the one we think ourselves to be, the one others think us to be and the one we truly are.”
This plight is never so acute as when applied to the student singer and how they perceive themselves through their voice. In my work, I have found that one of the most important things to do is to help singers find their ‘basic vocal tone.’
In his book Voice: Psyche and Soma, Cornelius Reid makes an exceptionally important point often skimmed when examining his substantial pedagogy: the topic of aesthetic listening and its inherent dangers.
Aesthetic listening is hearing a voice in a way that overlays aesthetic and stylistic preferences onto the mechanism (‘the one we think ourselves to be’). For example, a classical voice teacher might prefer darker, rounder tones and would train students to emit sounds in that way. A musical theater voice teacher might go the opposite way and entrain a voice into a very bright, brassy, forward sound. Both are ‘specializations,’ a term borrowed from Peter T. Harrison in his book The Human Nature of the Singing Voice.