For a golden voice
G.S. PAUL
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INTERVIEW Fr. Paul Poovathingal calls for the introduction of vocology in music training institutions in Kerala.
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The right posture helps a musician to reduce the tension on his tongue as well. The right mode of breathing is of utmost importance. In fact, vocology focuses on the `functional unity of singing voice.'
Teacher and singer: Fr. Paul Poovathingal
Paul Poovathingal, known as the `singing priest,' is also the only musician in Kerala to have undergone extensive training in vocology, a new branch of science. Fr. Poovathingal, who is an M.Phil. in Carnatic music from the University of Madras, completed his Ph.D. under the guidance of Karaikudi Subramaniam in the same university. Fr. Poovathingal emphasises the necessity of introducing vocology in the curriculum of music training institutions in Kerala. Excerpts:
What is vocology?
It deals with the study of the production, culture and rehabilitation of human voice.
How did you come across this new subject?
During my student days in the university, I had enrolled myself in `Bhrihadwani,' an institute owned by my guide, for special vocal exercises. The experience at the institute was rewarding as I was exposed to a variety of advanced topics and exercises in music. And among them, `voice culture' caught my fancy. A visit by David Claman of Weslyan University in the United States, proved providential. As advised by him, I joined the music department of Columbia University, to enlighten myself on the intricacies of voice culture. There I was trained by Gennie Gossy, a soprano singer and also a voice tutor at Teachers' College of the university. She impressed upon me the relevance of vocology which helps in developing a cultured voice.
What are the techniques in this?
There are many techniques such as falsetto and vibrato. While the former helped one to scale high pitches with ease, the latter conditioned the vocal chords to produce the right voice. Also, the sitting posture is very significant, as the production of voice in the human body is the end result of a unified muscular movement. The right posture helps a musician reduce the tension on his tongue as well. The right mode of breathing is of utmost importance. In fact, vocology focusses on the `functional unity of singing voice.' I also associated myself with Tom Cleveland of Tennessee who taught me the art of exercising the vocal chords so as to utilise its potential to the hilt.
How far is Carnatic music concerned about the quality of voice?
It appears that Carnatic music is totally myopic to this aspect even though composers like Thyagaraja had dealt with it in many of their kritis. For example, in his composition, `Sobhillu Saptaswara' in Jaganmohini raga, the saint says, `Worship the beautiful goddesses residing over the seven swaras, which shine through navel, throat, heart, tongue... ' This itself was proof enough of our awareness about this branch centuries ago.
However, we were more concerned about the science of music than the techniques of voice production and maintenance of its quality. But almost all musicians have had a problem with their voice at one time or the other during their career and a basic training in voice production was imperative for overcoming it.
How do you propose to help your fraternity in this area?
I have already started voice counselling in Chetana Sangeet Natya Academy, Thrissur. We hope to hold periodic workshops, especially for teachers so as to help them tackle the vocal problems of their students. As of now, I have already handled quite a few cases successfully.
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