Introduction to the topic

Intonation is considered to be one of the less studied subjects in the music science and a science of training. If we take it as the main factor of creating a musical form, it is clear that intonation, putting it in the language of philosophy, is responsible for the feel of space, as is the time that we associate with rhythm. The question is how we understand this space. The choral pitch in this definition is characterized by broader opportunities compared to the fixed models of instrumental pitch. It is understandable that in this case we are talking about various methods of touches which help to give a sound more expressive sounding in the context of a particular musical phrase. This is also true for other instruments whose pitch is determined by certain rules or specifics (each instrument has its own). We also need to take into consideration the fact that because of the conflict of two elements (functional-tonal gravitation and prosodic surroundings) the original guttural sensations of inexperienced singers are formed � a forerunner of singing positions. This important characteristic of the live sound is often left ignored by choirmasters: the functions are made more sensitive, the influence of the sound environment is minimized to the acceptable level; the result is that choristers study the art of imitating the pitch in the monopositioned prosodic field. The absence of the skill to control the environment is the reason of fighting with the environmental factors. In other words instead of learning how to live in the environment of live sound, we are insistently taught how to get rid of it. All the choral methods are unanimous about this issue. At educational institutions under the pretext of clear or expressive intoning they teach the art of imitation. But since it is impossible to remove the environment completely even the prominent choirs face the problems associated with pitch. It appears that the technique of pitch imitation and the intoning on a musical instrument shouldn�t be related directly to the intoning in the broad sense. Our music education consistently teaches students the stereotypes of primitive functional sensations, which destroy the natural reaction in the bud. Rudiments of Music in the form they are taught at schools eliminate the possibility of a positive feel of intonation environment. Feel of intonation given to us by nature, is atrophied for being superfluous as a throwback. Instead we have a surrogate of understandings instilled at school of what the acoustic properties of sound are and how to simulate the pitch of sound. Hence there is a primitive attitude to singing out of tune.

The environment of intonation

Sounds produced by voice have certain differences from similar sounds produced by musical instruments. It is not so much about timbre or the physical specifics of an abstract extracted sound - beyond modal relations, as it is about what combines psychophysics and feel of intonation. In other words, the intonation can not fully express itself outside its own specific environment. Each environment creates its own laws, intoning in that sense is not an exception. An airplane, being outside the air flow, can not demonstrate its aerodynamic qualities. And the sound placed in the limited space of a fixed structure is like a galloping horse on the children carousel. Natural intonation environment is formed in a quite primitive way, and its nature is in a balance of physical effort needed to produce sounds of different pitch in the process of singing. The environment of intonation balances the energy of functional gravities, taking the melody from the scope of mental models of the acoustic geometry into the scope of the immediate objects of the soul. Overcoming the environment generates the expression - it is not from art, not by design. There is no false romanticism, the desire to embellish the plot of the story, because it is the real fabric of music. This tissue does not arise from the virtual space, it is generated in the process of overcoming. It seems to be able to erase the barrier that separates the object and the subject, and thus helps to ensure contact during the perception of music. Physical vibrations of the environment in which the acoustic effects are formed have no meaning if the system of transmission of these vibrations to the center of perception is not involved. For some reason this system keeps on failing all the time, however no one notices that. The cyclist, for example, feels the connection to the land through the pedal. A non-working movement of the pedals would be immediately obvious to him. The effort required to lift a weight is proportional to the weight, but what if we only need to imitate muscular tension. Environment provides the relevance of music in its intonational aspect, without it, the music loses its connection with the perception, since the latter is running idle, like an engine of a car which stays still. It would be absurd to simulate its motion, swinging the body or projecting on the screen a road with changing landscape. It is common to think that art is a kind of imitation, that a game involves deception initially. But there are forms of organized shows, sport events where the natural application of force serves as a stable factor of naturalness. Why then is a concert hall or an art exhibition associated with a place where conventionality overpowers reality? A performer, who turned docile to the environment, automatically gets into a situation where he has to work in a range of skill levels that he has, not caring whether the objects or characters of his actions are real. If the action is real itself, all around it automatically becomes a reality. Environment also serves as an obstacle to pure sounding of scale steps and a physical support, without which it is impossible to make live music. The skill if the singer in this case is determined by his feel of this environment and physical abilities of his apparatus. The feeling � is nor a free-lancer, which leads to the chaos. Rather, it stabilizes the intonation environment, bringing the quality of a model to a certain level of mastery of the musician.