On-Vocal-Perf-art - 11/15/08
਀ഊ"On Vocal Performance". A Course handout for a RUSH class by Mathurin Kerbuss.
਀ഊNOTE: See also the files: Bardic-Guide-art, Entrtng-n-SCA-art, song-sources-msg, Tales-o-Teror-art, storytelling-art, Bardic-Swap-art, Five-Miracles-art, Hornbook-art.
਀ഊ************************************************************************
਀一伀吀䤀䌀䔀 ⴀഊ
਀吀栀椀猀 愀爀琀椀挀氀攀 眀愀猀 猀甀戀洀椀琀琀攀搀 琀漀 洀攀 戀礀 琀栀攀 愀甀琀栀漀爀 昀漀爀 椀渀挀氀甀猀椀漀渀 椀渀 琀栀椀猀 猀攀琀 漀昀 昀椀氀攀猀Ⰰ 挀愀氀氀攀搀 匀琀攀昀愀渀✀猀 䘀氀漀爀椀氀攀最椀甀洀⸀ ഊ
਀吀栀攀猀攀 昀椀氀攀猀 愀爀攀 愀瘀愀椀氀愀戀氀攀 漀渀 琀栀攀 䤀渀琀攀爀渀攀琀 愀琀㨀 栀琀琀瀀㨀⼀⼀眀眀眀⸀昀氀漀爀椀氀攀最椀甀洀⸀漀爀最ഊ
਀䌀漀瀀礀爀椀最栀琀 琀漀 琀栀攀 挀漀渀琀攀渀琀猀 漀昀 琀栀椀猀 昀椀氀攀 爀攀洀愀椀渀猀 眀椀琀栀 琀栀攀 愀甀琀栀漀爀 漀爀 琀爀愀渀猀氀愀琀漀爀⸀ഊ
਀圀栀椀氀攀 琀栀攀 愀甀琀栀漀爀 眀椀氀氀 氀椀欀攀氀礀 最椀瘀攀 瀀攀爀洀椀猀猀椀漀渀 昀漀爀 琀栀椀猀 眀漀爀欀 琀漀 戀攀 爀攀瀀爀椀渀琀攀搀 椀渀 匀䌀䄀 琀礀瀀攀 瀀甀戀氀椀挀愀琀椀漀渀猀Ⰰ 瀀氀攀愀猀攀 挀栀攀挀欀 眀椀琀栀 琀栀攀 愀甀琀栀漀爀 昀椀爀猀琀 漀爀 挀栀攀挀欀 昀漀爀 愀渀礀 瀀攀爀洀椀猀猀椀漀渀猀 最爀愀渀琀攀搀 愀琀 琀栀攀 攀渀搀 漀昀 琀栀椀猀 昀椀氀攀⸀ഊ
਀吀栀愀渀欀 礀漀甀ⰀഊMark S. Harris...AKA:..Stefan li Rous
਀猀琀攀昀愀渀 愀琀 昀氀漀爀椀氀攀最椀甀洀⸀漀爀最ഊ************************************************************************
਀ഊOn Vocal Performance
਀䌀漀甀爀猀攀 栀愀渀搀漀甀琀 昀漀爀 愀 刀唀匀䠀 挀氀愀猀猀ഊby Mathurin Kerbuss
਀ഊThe Introduction
਀ഊAs with any art, and certainly any performing art, there is no "right" way to vocal performance. This course is, therefore, not so much a "how-to" course as an overview of suggestions. Some of these come from my own experience, most come from the generous comments and critiques of others. Any errors in the transmission of these suggestions is totally mine.
਀ഊAlso, any artistic endeavor cannot be easily broken up into categories. Although this handout is organized under specific headings, realize that significant overlap exists. In fact, the art of vocal performance is a gestalt, and the various parts cannot be taken piecemeal in a real situation but flow into each other to create a (hopefully!) pleasing whole.
਀ഊThe Instrument
਀ഊThe Environmental Factor
਀ഊThis is basically where you are performing. As amateur performers, and performers in the SCA in particular, we rarely have the luxury of an acoustically perfect environment. You may find yourself performing in a small room where you can speak or sing normally and be heard by everyone. Or you may find yourself in an outdoor setting where soft "walls" and soft bodies suck up your voice. You may end up in a large barn-like building where the echoes threaten to drown you out.
਀ഊThere is very little you can do about the environment in which you perform except to be aware of the limitations. If possible, try to practice in the area where you will be performing. This will give you an idea of what you can and cannot do in that space. Then you can gear your material and your presentation to the space.
਀ഊThe Human Factor
਀ഊThis is basically you, at least from the diaphragm to the lips. What nature gave you may not be as great as what you would like it to be, but you can do a lot more to maximize your voice than your environment. The most important thing is to take care of your voice.
਀ഊGenerally, what is good for your overall health is good for your voice. If you don't smoke, don't start. If you do smoke, quit. If you can't quit, at least refrain for as long as you can before you perform--hours, days, whatever. Good aerobic exercise will build up your stamina and lung capacity. Taking care of your general health will help prevent that nasty cold or sore throat that ruins your performance.
਀ഊKeep your voice lubricated. The best liquid for this is water--with no ice! After that comes tea, lemonade and other soft drinks, but remember that these all have some astringent effects and will alter your voice to one degree or another. Avoid alcohol before a performance. It doesn't make you sound better, it just makes you think you sound better! Alcohol is very astringent and can alter your voice dramatically. If you must drink alcohol before performing (for your personal sanity) stick to beer or wine. Under no circumstances drink spirits.
਀ഊDon't strain your voice. Don't volunteer to herald the list table the day you are going to perform. Restrain your enthusiasm when the new Prince delivers that last blow and wins Crown Tourney. Once strained, it takes days for your voice to return to normal. You won't impress anyone at feast if you are croaking like a frog because you screamed like a banshee.
਀ഊThe Audience
਀ഊAn SCA Audience Is Not a Medieval Audience
਀ഊAn SCA audience has grown up in a Modern world, with tastes that have been conditioned by TV, radio and movies. This strongly affects what they will enjoy--and what they will find tedious.
਀ഊNo SCA audience will sit through a recitation of an entire Icelandic Saga. Their musical tastes have been conditioned to popular songs which run approximately 1.5 to 3 minutes. Prose recitations should not exceed 10 minutes, ideally less (about the time between commercials on TV!)
਀ഊVery few of us are scholars of arcane languages or dialects. Don't overdo the use of unfamiliar words, usages, languages or dialects.
਀ഊAn SCA Audience Is Not a Modern Audience
਀ഊAn SCA audience expects a certain look, feel and sound. It is that elusive thing we call "Period." It is very hard to describe, but we know what it is when we hear it. If your performance comes out sounding too modern you will lose your audience just as quickly as by making it difficult to understand.
਀ഊSprinkle (don't drown!) the piece with period words and phrasing. Try to imitate a style that was done in period. If you are filking, try to use folk-song type base material. If you are writing your own tunes, keep them fairly uncomplex, repetitive, but not boring. "Keep It Simple, Stupid!"--but not so simple that it is stupid!
਀ഊThe Material
਀ഊLength
਀ഊSongs should not be longer than 5 minutes, stories not more than 15 minutes, 3 minutes and 10 minutes respectively is even better.
਀䰀愀渀最甀愀最攀ഊ
਀䬀攀攀瀀 愀渀挀椀攀渀琀 眀漀爀搀猀 愀渀搀 瀀栀爀愀猀攀猀 琀漀 愀 洀椀渀椀洀甀洀Ⰰ 戀甀琀 渀漀琀 猀漀 愀猀 琀漀 洀愀欀攀 琀栀攀 瀀椀攀挀攀 猀漀甀渀搀 琀漀琀愀氀氀礀 ∀洀漀搀攀爀渀∀⸀ 唀猀攀 愀挀挀攀渀琀猀Ⰰ 搀椀愀氀攀挀琀猀 愀渀搀 漀琀栀攀爀 氀愀渀最甀愀最攀猀 眀椀琀栀 挀愀甀琀椀漀渀Ⰰ 琀栀漀甀最栀 琀栀攀礀 挀愀渀 戀攀 瘀攀爀礀 攀昀昀攀挀琀椀瘀攀 甀猀攀搀 挀漀爀爀攀挀琀氀礀⸀ഊ
਀䄀挀挀甀爀愀挀礀ഊ
਀䬀渀漀眀 礀漀甀爀 洀愀琀攀爀椀愀氀⸀ 䤀昀 礀漀甀爀 眀漀爀欀 椀猀 愀戀漀甀琀 愀渀 栀椀猀琀漀爀椀挀愀氀 攀瘀攀渀琀 漀爀 琀愀欀攀渀 昀爀漀洀 瀀攀爀椀漀搀 氀椀琀攀爀愀琀甀爀攀Ⰰ 漀搀搀猀 愀爀攀 琀栀愀琀 猀漀洀攀漀渀攀 椀渀 琀栀攀 愀甀搀椀攀渀挀攀 眀椀氀氀 戀攀 昀愀洀椀氀椀愀爀 眀椀琀栀 椀琀⸀ 䤀昀 礀漀甀爀 瀀椀攀挀攀 椀猀 愀戀漀甀琀 匀䌀䄀 攀瘀攀渀琀猀 ⠀∀一漀 猀栀⨀琀Ⰰ 琀栀攀爀攀 䤀 眀愀猀⸀⸀⸀∀⤀ 琀栀攀渀 琀栀攀 挀栀愀渀挀攀猀 愀爀攀 瘀攀爀礀 最漀漀搀 琀栀愀琀 猀漀洀攀漀渀攀 椀渀 礀漀甀爀 愀甀搀椀攀渀挀攀 眀愀猀 琀栀攀爀攀℀ഊ
਀䬀渀漀眀 眀栀攀爀攀 礀漀甀爀 洀愀琀攀爀椀愀氀 挀漀洀攀猀 昀爀漀洀⸀ 唀渀搀攀爀猀琀愀渀搀 琀栀攀 攀洀漀琀椀漀渀愀氀Ⰰ 栀椀猀琀漀爀椀挀愀氀 愀渀搀 氀椀琀攀爀愀爀礀 戀愀挀欀最爀漀甀渀搀⸀ 夀漀甀 眀椀氀氀 戀攀 戀攀琀琀攀爀 愀戀氀攀 琀漀 最攀琀 琀栀攀 昀攀攀氀椀渀最 漀昀 琀栀攀 眀漀爀欀 漀瘀攀爀 琀漀 礀漀甀爀 愀甀搀椀攀渀挀攀 椀昀 礀漀甀 欀渀漀眀 眀栀愀琀 椀琀 椀猀 礀漀甀爀猀攀氀昀⸀ഊ
਀吀栀攀 䴀愀最椀挀ഊ
਀䄀 瀀攀爀昀漀爀洀攀爀 猀栀漀甀氀搀 戀攀 愀戀氀攀 琀漀 搀漀 洀漀爀攀 琀栀愀渀 猀椀渀最 漀爀 爀攀挀椀琀攀⸀ 䄀 最漀漀搀 瀀攀爀昀漀爀洀愀渀挀攀 琀爀愀渀猀瀀漀爀琀猀 琀栀攀 愀甀搀椀攀渀挀攀 琀漀 愀渀漀琀栀攀爀 瀀氀愀挀攀 愀渀搀 琀椀洀攀Ⰰ 瀀攀爀栀愀瀀猀 漀渀攀 琀栀愀琀 漀渀氀礀 攀砀椀猀琀猀 椀渀 琀栀攀 椀洀愀最椀渀愀琀椀漀渀⸀ 圀栀攀渀 愀 瀀攀爀昀漀爀洀攀爀 猀甀挀挀攀攀搀猀 椀渀 搀漀椀渀最 琀栀愀琀Ⰰ 琀栀攀 漀渀氀礀 眀漀爀搀 昀漀爀 椀琀 椀猀 䴀愀最椀挀℀ 䘀漀氀氀漀眀椀渀最 愀爀攀 猀漀洀攀 猀甀最最攀猀琀椀漀渀猀 昀漀爀 最攀琀琀椀渀最Ⰰ 愀渀搀 欀攀攀瀀椀渀最Ⰰ 琀栀攀 洀愀最椀挀⸀ഊ
਀䄀挀挀漀洀瀀愀渀椀洀攀渀琀ഊ
਀䄀氀琀栀漀甀最栀 琀栀攀 瀀爀椀洀愀爀礀 椀渀猀琀爀甀洀攀渀琀 昀漀爀 愀 瘀漀挀愀氀 瀀攀爀昀漀爀洀愀渀挀攀 椀猀 礀漀甀爀 瘀漀椀挀攀Ⰰ 愀挀挀漀洀瀀愀渀椀洀攀渀琀 挀愀渀 愀搀搀 愀 最爀攀愀琀 搀攀愀氀 琀漀 礀漀甀爀 瀀攀爀昀漀爀洀愀渀挀攀⸀ 吀栀攀 爀椀最栀琀 椀渀猀琀爀甀洀攀渀琀 渀漀琀 漀渀氀礀 最椀瘀攀猀 愀 洀漀爀攀 瀀攀爀椀漀搀 昀攀攀氀 琀漀 礀漀甀爀 瀀攀爀昀漀爀洀愀渀挀攀Ⰰ 椀琀 挀愀渀 愀挀琀甀愀氀氀礀 椀洀瀀爀漀瘀攀 椀琀Ⰰ 戀礀 爀攀椀渀昀漀爀挀椀渀最 琀栀攀 猀琀爀攀渀最琀栀猀 愀渀搀 搀攀琀爀愀挀琀椀渀最 昀爀漀洀 琀栀攀 眀攀愀欀渀攀猀猀攀猀 椀渀 礀漀甀爀 瘀漀椀挀攀⸀ 䄀 栀愀爀瀀 漀爀 最甀椀琀愀爀 挀愀渀 挀漀瘀攀爀 琀栀攀 漀挀挀愀猀椀漀渀愀氀 昀愀氀猀攀 渀漀琀攀Ⰰ 愀 戀漀搀栀爀愀渀 漀爀 搀甀洀戀攀欀 挀愀渀 栀攀氀瀀 礀漀甀 欀攀攀瀀 礀漀甀爀 琀椀洀椀渀最⸀ 䔀砀瀀攀爀椀洀攀渀琀 眀椀琀栀 椀渀猀琀爀甀洀攀渀琀猀Ⰰ 瀀攀爀栀愀瀀猀 最攀琀琀椀渀最 愀 昀爀椀攀渀搀 琀漀 戀攀 礀漀甀爀 爀攀最甀氀愀爀 愀挀挀漀洀瀀愀渀椀猀琀⸀ഊ
਀䄀瀀瀀攀愀爀愀渀挀攀ഊ
਀夀漀甀 猀栀漀甀氀搀 洀愀欀攀 攀瘀攀爀礀 攀昀昀漀爀琀 琀漀 栀愀瘀攀 礀漀甀爀 愀瀀瀀攀愀爀愀渀挀攀 戀攀 愀猀 愀甀琀栀攀渀琀椀挀 愀猀 瀀漀猀猀椀戀氀攀⸀ 䄀 瀀氀愀椀渀 吀ⴀ琀甀渀椀挀 愀渀搀 猀眀攀愀琀 瀀愀渀琀猀 洀愀礀 戀攀 愀氀氀 爀椀最栀琀 昀漀爀 礀漀甀爀 昀椀爀猀琀 昀攀眀 攀瘀攀渀琀猀Ⰰ 戀甀琀 椀琀 洀愀欀攀猀 椀琀 搀椀昀昀椀挀甀氀琀 昀漀爀 礀漀甀爀 愀甀搀椀攀渀挀攀 琀漀 琀愀欀攀 礀漀甀 猀攀爀椀漀甀猀氀礀⸀ 䤀琀 樀愀爀猀 琀栀攀洀 漀甀琀 漀昀 琀栀攀 洀愀最椀挀愀氀 洀漀漀搀 琀栀愀琀 礀漀甀 眀愀渀琀 琀栀攀洀 椀渀⸀ഊIf costume is not your strong point, get a costumer to help you research and construct a convincing outfit. Don't neglect accessories either; our ancestors were very fond of trim, fur and jewelry, the gaudier the better!
਀ഊAnimation
਀ഊDon't stand there with your hands at your sides, with a dead-pan, monotone delivery! Put the emotion of the piece in your face, your hands, your body! Make eye contact with your audience! Humans communicate best when all the senses are involved, so remember to move around and use appropriate gestures and facial expressions.
਀ഊModulate your voice; laugh the words of a Viking boasting at a feast, sigh when describing a lost love, cry the death of a great king.
਀ഊPractice in front of a mirror. Use a tape recorder to hear what you sound like to others.
਀ഊAccents
਀ഊDone properly, an accent can lend the finishing touch to the whole product of your performance. If you can do a creditable brogue, use it. Don't overdo it, and don't do it if you are no good at it. Test it out on a familiar but honest audience.
਀ഊThe Summary
਀ഊAll of these suggestions are just that--suggestions. No one can tell another how to perform. Each performer finds their own style and techniques. Practice often, perform as much as you can. The improvement you will make will amaze you.
਀ഊThe most helpful thing you can have as a performer is a friendly but honest critic, someone who will tell you when you stink and when you excel. If you do not have someone like that among your personal acquaintances, try to corner a member of the Bardic College or someone else you know to be a regular performer. What they tell you is no more written in stone than this course, but any honest criticism will help you to zero in on those areas you need to improve on.
਀ഊLast Updated: February 20, 1996 
਀ⴀⴀⴀⴀⴀⴀഊCopyright ©1996 by Rex A. Deaver.
 (rdeaver at swbell.net). Permission to reprint in any SCA related publication, print or electronic, providing no changes are made without prior written consent, and this notice is kept intact.
਀ഊ<the end>
਀䔀搀椀琀攀搀 戀礀 䴀愀爀欀 匀⸀ 䠀愀爀爀椀猀ऀ伀渀ⴀ嘀漀挀愀氀ⴀ倀攀爀昀ⴀ愀爀琀ऀ倀愀最攀 㔀 漀昀 㔀ഊ
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