Poster was presented at the 1st Cognitive Science Connects Conference at University Town, National University of Singapore on 5 Jan 2013.

1. KNOWLEGDE AND COMMUNICATION IN BEL-CANTO SINGING:
AN APPRENTICE’S PERSPECTIVE
S.J.Q.,
Choo
Department
of
Mechanical
Engineering,
Na5onal
University
of
Singapore,
Singapore
Abstract: Knowledge of vocal techniques or expressive nuances in performance is rarely articulated,
since many components of the vocal mechanism cannot be seen and hence are difficult to externalize.
Expressive nuances, also termed as musical prosody, encompass variations in musical events such as
pitch, tempo and intensity and phrasing. These events are influenced by socio-cultural factors and
hierarchical rules that underpin the composer’s message and intent. While one may acquire aspects of
explicit knowledge of musical prosody and vocal techniques, they cannot replace the value of traditional
one-to-one voice instruction. Vast amounts of knowledge- musical and personal are embedded in the
master’s intuitive musical expectations, skills and value systems. Effective externalization of the
master’s knowledge is key in clarifying abstracted notions of technique and expression to the student.
Strategies of externalization include dialogue, visualization and gestures in experiential learning. Finally,
one’s appraisal of acquired knowledge through active repetition and reflection facilitates “indwelling”,
arriving at consistency in vocal technique and artistry in Bel-Canto singing.
Keywords: Knowledge, Communication, Apprenticeship, Prosody, and Gestures
Bel-­‐Canto
singing
is
a
tradi0onal
oral
process
passed
down
from
master
to
student
through
genera0ons.
In
singing,
much
knowledge
is
embedded
in
implicit
and
tacit
forms.
Tacit
knowledge
is
personal,
context
specific
and
hard
to
communicate
(Polanyi
&
Sen
1983).
Figure
1
below
gives
an
overall
schema0c
representa0on
of
musical
events
placed
on
the
spectrum
of
explicit-­‐
tacit
knowledge
scale.
Experien0al
knowledge
is
communicated
from
master
to
the
appren0ce
through
demonstra0on
and
descrip0on
of
the
results
to
be
achieved
and
the
accompanying
sensa0ons.
The
master
demonstrates,
advises,
ques0ons
and
cri0ques.
The
student
watches,
observes,
imitates
and
seeks
approval
(Burwell,
2012).
Nuances
in
associated
with
music
expression
and
emo0on
oQen
dis0nguishes
expressive
and
inexpressive
performances
(Palmer
&
Hutchins,
2006).
These
nuances
are
oQen
communicated
by
the
master’s
strategies
via
metaphors,
gestures
and
visualiza0ons
(Godøy,
2009;
Juslin
&
Sloboda,
2001;
Molnar-­‐Szakacs
&
Overy,
2006).
E x p l i c i t
d o c u m e n t a 0 o n
o f
p r o c e s s e s
a n d
communica0on
of
knowledge
in
Bel-­‐canto
singing
drives
clarity
and
awareness
in
music,
ar0stry
and
technique.
Learning
can
only
be
completed
when
the
student
examines
and
internalizes
the
teachings
of
the
master,
by
reflec0ons,
prac0ce
and
doing.
A
schema0c
of
knowledge
conversion
processes
in
Appren0ceships
in
Bel-­‐Canto
singing
is
given
in
Figure
2.
Explicit
Knowledge
gained
through
study
of
music
theory,
context,
research
and
prosody
U0lized
Knowledge
Apprehend
Discovering
New
Knowledge
Explicit
Knowledge
Learning
by
Doing/
Reflec0ons
Appraise
Implicit
Knowledge
Tacit
Knowledge-­‐
Truth,
Nature
Experien?al
Figure
2:
Appren?ceship
as
a
knowledge
conversion
process
Figure
1:
Knowledge
schema?c:
Depth
of
musical
events
in
Singers
Corresponding
author:
Choo
Jun
Quan,
Stefan,
Department
of
Mechanical
Engineering,
Na0onal
University
of
Singapore
Email:
Stefan.JQ@gmail.com
References:
Burwell, K. (2012). Apprenticeship in music: A contextual study for instrumental teaching and
learning. International Journal of Music Education, 0255761411434501–. doi:
10.1177/0255761411434501
Godøy, R. I. (2009). Musical gestures: Sound, movement, and meaning. Routledge.
Juslin, P. N., & Sloboda, J. A. (2001). Music and emotion.
Molnar-Szakacs, I., & Overy, K. (2006). Music and mirror neurons: from motion to’e’motion.
Social cognitive and affective neuroscience, 1(3), 235–241.
Palmer, C., & Hutchins, S. (2006). What is musical prosody? Psychology of learning and
motivation, 46, 245–278.
Polanyi, M., & Sen, A. (1983). The tacit dimension. Peter Smith Gloucester, MA.
Acknowledgements:
Tenor
Brendan-­‐Keefe
Au,
my
dearest
friend,
voice
teacher
and
mentor
for
being
my
inspira0on,
source
of
support
and
encouragement
in
classical
singing.