Impulse

Preface: This text is an excerpt from a book by Olga Averino. One of the many gifted musicians that escaped to America during the Russian Revolution, she was a renowned singer and teacher in the last century, and wrote this book after more than 60 years in music. She describes how the energy of musical imagination is released into action. Her words are applicable to all instruments as well as voice. Please read the notes below for translation of these thoughts to your own instrument.
Interestingly, it is not a much different than the story told to us by the motor-neurologist. Science has caught up with the thoughts here, as with new scanning devices it becomes possible to chart the spark created by music, as it activates whole networks in the brain, spurring us to action. It is this spark that is described here, as well as how to recognize and nurture it in our work.

This is the story told by a musician: the story of the relationship between musical and neurological impulse, which is sparked by our imagination.

Impulse (Vital Energy)

Observe the animal world: the flight of a bird, the sureness in the leap of a squirrel from the branch of one tree to another swaying branch, the whine of a puppy, the roar of a lion.

These actions are performed instinctively, without a conscious effort, but they were prompted by some need, some urge. This urge works like a spark which ignites and releases a stream of energy. The initial urge becomes the goal. Urge and goal seem to be one, and as long as the urge-goal remains strong, the stream of energy lasts. We see it in everyday action of animals and also in the almost unbelievably mysterious migrations of animals and birds.

I am speaking of subtle, elusive, and all-powerful energy which is present and functions in everyone and everything alive. The French call it l’elan vital. The Hindus call it prana. In the arts and medicine, it is referred to as “impulse,” so I will use this more familiar term. This vital energy is omnipresent, therefore we take tend to take it for granted, like the air we breathe. However, when we witness some special act, we become aware of the presence of something unusual, and if it is a performance of some kind we describe it in vague terms: “the performer surpassed himself,” or “he was inspired’” or “it was magic.” In order to recognize this energy and channel it, one must first become aware of it, of its presence and its function. I hope to make clear what it is by giving some examples of its manifestation.

In human life the first manifestation of impulse is the cry of a newborn baby as he takes his first breath. If you watch the baby’s body you will see the abdominal muscles contracting. This is the sign that the diaphragm is working, pushing the air form the lungs toward the vocal chords and making the first natural, “rooted” sound. It is a very important point that the first manifestation of impulse is through breath. It is worth noticing how strongly and sometimes how long this baby cries without any sign of hoarseness or fatigue. These sounds change with the growth of the child. They begin to express different and more clearly defined moods – joy, anger, amusement. We notice that the sharper the mood, the stronger the influx of energy. All of these sounds are produced in the same spontaneous way, always connected with the diaphragm.

The growing child’s moods and thought become more varied; the child’s attention is concentrated on them. This concentration makes the flow of energy very strong. Sometimes children with a very strong influx of this energy are difficult to deal with. We see that where there is intense concentration, there is also a powerful influx of this energy.

Let us look at adults who are able to choose the subject on which to focus their concentration. They can focus it on any level – physical, emotional, mental, esthetic, or spiritual. The most tangible and observable manifestation is on the physical level. A very striking example is the performance of a karate master when he splits wood with the blow of his bare hand, or when his hand crushes a rock.

You see the same energy working (applied differently) in the gymnasts, divers, or people who maintain equilibrium in almost impossible situations. One can be sure that when the performance seems “miraculous,” it is the result of great concentration and the influx of impulse.

When concentration is not on the physical level, it is not as visible, but you can observe the effect of concentration on an audience. During performances by great artists, musicians, or actors, and during poetic readings or inspired speeches, one becomes aware of the absorbed attention of the audience – that stillness which sometimes continues for a few moments after the performance has ended. Such energy is extremely communicable and, what is more, it has a very long-lasting effect. It is brought home and remembered for a long time.
Impulse is present in everybody, but some people seem to be filled with it; they are vital. Others at times seem to be vital but then become listless. Since this energy is the origin of vocal sound, vitality is the most desirable quality in a singer.

The vital person is the happy possessor of that energy that makes everything seem so easy. I’m sure that at one time or another every singer has had the experience of singing easily, simply, without the difficulties which so often interfere. At such moments, the energy is running high. It is also possible to be very musical and have a pleasant voice, but to have the energy flow only intermittently. It is most important that before singing [or playing –editor] you put yourself into a state of vitality. How? I have had many conversations with colleagues who agree and understand the role of this vital energy in singing, but who maintained that it was mystical and inspirational and could not be taught. It is mystical and inspirational and, although it cannot be taught, one must still be aware of its presence, and its ebb and flow in order to be able to stimulate it.

Let me demonstrate with an example: you come home tired and listless after a day’s work. You have to climb two flights of stairs. Suddenly someone shouts good news from the top of the stairs. In no time, you are at the head of the stairs, and you no longer feel fatigued. This is the result of the influx of impulse of energy. Do not confuse if with emotion; it is not the same thing. Emotion and many other factors may stimulate this energy, such as the impression made by great beauty or by a marvelous idea or by anything truly important to you. Any of these may serve to create within you the “urge” to sing, or may put you “in the mood” for it.

Impulse, or vital energy, may be observed most clearly in the performance of athletes. If you watch gymnasts before they perform, you see tremendous concentration, a gathering of physical and mental forces, a moment of stillness, and then the release of these forces. Among musicians, this energy is most visible in conductors. However, it is possible to be an accomplished musician and still have very little of this vitality. Such a musician may perform with great clarity, skill, and correctness, but the performance will be dry. On the other hand, a conductor filled with “impulse” will give an electrifying. That is because this vital energy is completely communicable and contagious.

This state of vitality can be stimulated. Individuals must find the best way to stimulate impulse for themselves. For some people the best way is to go through physical exercises and raise the vitality of the body. Others are stimulated by something very beautiful – music, some special performance, poetry, or nature. Anything that will induce the wonderful mood of wanting to sing, of being impatient to sing, is helpful. Once in the “mood,” you will recognize it. You will feel wonderful, both peaceful and alive, and your full concentration will be focused on the music. I want to emphasize that this influx of vitality is not excitement. To be in a state of excitement is like riding a runaway horse. You are not in control. But with the influx of energy, on feels very peaceful and confident. You are in the same state as the gymnast who is about to perform. All your inner forces are gathered in a moment of intense concentration and then this energy is released into the performance.**

We must remember that the newborn baby gave us the first demonstration of a perfect, natural sound, started spontaneously by urge (impulse, used unconsciously) and manifested through diaphragmatic breath. So, now we come to the most pertinent point: how the singer directs this subtle, evasive, and powerful impulse. In using energy, three points are of extreme importance:

1. The starting point of energy
For the singer, this point is the clear imagining of the musical phrase combined with the strong urge to sing it (the mystical and inspirational aspect of impulse, which works like spark).

2. The channel through which the energy travels:
For the singer, the actual release of this energy through the singer’s channel (diaphragmatic breath) and allowing it to flow uninterruptedly upward and always in through the larynx and vocal chords.

3. The location of the goal or the receiving point of energy:
For the singer, reaching the pharynx – the singer’s main resonator.

The coordinated use of all these elements is the core of the vocal process.***

In a previous chapter, I said: “…the impulse tunes the instrument (vocal chords) to the desired pitch.” It also releases and controls the breath and vitalizes the working parts of the vocal apparatus. It must be obvious how important the role of this energy is in the vocal process. Equally, and perhaps even more importantly, is the manifestation of this energy on the mental level…****

From Chapter 4 from “Principles and Art of Singing” by Olga Averino, 1989, Novis Publications (originally Intention Publications), www.novis.dk
The editor for this page, Crissman Taylor, was a student of Olga Averino in the last four years of her life, and, together with her father, Edwin F. Taylor, helped to edit and publish her book. This text is offered with the permission of her grandson, the copyright holder.

Editor’s notes:
*Vitality is also the origin of action at the instrument!
**Instrumentalists: try translating below the three aspects below to your own playing: starting point →channel→location/receiving point of energy.
1. The starting point of energy: same for all musicians
2. The channel through which the energy travels: release of energy follows different routes for different instruments (diaphragm, arms, lips, fingers, legs and feet) to create movement for playing.
3. The location of the goal or the receiving point of energy: Each instrument has its own way of magnifying and resonating sound.
*** The coordinated use of all these elements is the core of the vocal [and instrumental] process.
****Note: [For instrumentalists, read this last paragraph like this: “…the impulse tunes and directs pitch, sound and rhythm.” It also releases and controls breath and vitalizes the working parts of the body to create combinations of movements and processes. It must be obvious how important the role of this energy is in the process of playing an instrument. Equally, and perhaps even more importantly, is the manifestation of this energy on the mental level…]