DYBDAHL'S DILEMMA
In its most recent article THE JK EFFECT, the Loggione analysed the singing of three different eras comparing the brilliance and projective qualities of each. In that piece distinctions were made between the vocal ideals of the 1930s and 1950s which despite rating differently in regards to brilliance were both suitable for theatrical projection. In contrast, the article then commented on the singing of the current day which in addition to being considerably less brilliant is also less projective. This ideal which is often described as a "faux baritone" quality in tenor singing is arguably not an ideal which can be successfully utilised in theatrical projection. The primary reason being due to it lacking the requisite amount of upper partials.
In the comment section of the article a comment was left by friend of the Loggione Cornelius Dybdahl who stated that this theory was incorrect and that it’s actually lower frequencies which have superior projective qualities. Cornelius then supported his position by discussing the phenomenon of echoes in a valley.
I facetiously responded by stating that falsetto (which is a register of the male voice occupying a higher frequency range than chest voice) is actually the most projective sound a voice can make in a valley.
In response to this Cornelius wrote a tirade of comments which explained why wolves howl instead of bark and how this relates to the positive reactive (invertive) component of supraglottic entry impedance which skews the flow pulse.
In addition to being highly entertaining, I imagine that much of what our nimble-witted Cornelius was advocating may well be correct. Sadly, intelligence is not always a defence to stupidity where on this occasion science was being misapplied. What Cornelius had unfortunately forgotten to take into account was that an opera house is not a valley, Mario Del Monaco was not a wolf, and he did not howl his arias in falsetto.
Apart from these minor oversights I thought his argumentation was brilliant.
HADLEY'S HEED
In a now well known interview Jerry Hadley eloquently described Dybdahl's Dilemma. While discussing the concept Hadley expresses genuine concern about the growing trend whereby the modern-day approach misses the forest for the trees. What Hadley conveys via this analogy is that Cornelius, who is a young aspiring opera singer, would benefit from understanding the tonal ideals that the article described rather than obsessing over the theory of their component parts.
In addition to falling into this trap, Cornelius also misapplied the very science he claimed to understand, because inside an opera house falsetto is not a greater projective force than chest voice. Perhaps the climax of the whole exhibition was the moment when he almost came full circle. When debating if upper partials had an effect on the projective nature of chest voice in the opera house he stated:
"No, they do not. They are highly indicative of a voice with projective quality, but correlation is not causation."
I believe it was after this particular admission that regular Loggione commenter Carrot posted:
"I bet Cornelius is really fun at parties."
THE CLINICAL DIAGNOSIS
Today Dybdahl's Dilemma is a very common affliction. Its victims present with acute symptoms, and have been reported to obsess over the reactive (invertive) component of their supraglottic entry. Despite being capable of explaining how to make a world class sound, their own attempts to skew the quotient generally leave a lot to be desired, often sounding worse than those who despite skewing it well didn’t realise they were doing it.
Readers who would like to learn more about this debilitating condition can find out more by listening to Jerry Hadley's iconic interview which is hyperlinked here.
ADDENDA
1) The Loggione wishes to make it clear that it respects both Cornelius Dybdahl and his notorious accomplice Philippe Castagner for their willingness to engage in open debate. The generosity that they extend towards this forum enriches the environment and is always appreciated. In this regard they are Renaissance men who are throwbacks to a better age where ideological discourse was valued.
2) The Loggione would also like to acknowledge that despite differences in their ideological position these men have resisted the temptation to call me a sex offender, which in this day and age demonstrates rare character. Readers wanting to know more about their highly innovative approach to vocal pedagogy can do so by visiting the YouTube channel owned by Philippe Castagner called Mister Opera. Philippe is currently in the final stages of developing medically accurate 3D models which are capable of illustrating how he is able to lower the whole damn hyoid bone. He assures us it’s not for pussies!
3) Finally the Loggione would like to make it known that despite having an identical writing style to Philippe Castagner, Cornelius Dybdahl is in fact a real person. He currently resides in Copenhagen where for a fee he can be hired for parties.
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