The vocal artist–particularly the young singer who is developing his/her vocal technique–must never be so committed to a particular sound or way of singing that creativity suffers. This is not to say that technical mastery must not be a goal, or that the expressive end justifies any means. Far from it, as great expression may be found in technique that is limiting, or even damaging! One should develop techniques that allow increasing options for both today and tomorrow, though. The basic vocal approach should be simple and integritous, so that it is dependable and will support decades of artistry. Yet, it must be comprehensive and thorough, so that a multiplicity of stylistic choices can be supported, and the maturing singer will be able to continually grow and adapt.
The serious student must be willing to experiment with a wide range of choices, attitudes, timbres and vocal directives. Voice lessons, vocal coachings, opera rehearsals, even choral/ensemble rehearsals provide the dedicated student with opportunities to expand her/his horizons. A teacher, coach or conductor may suggest or insist that the singer employ a particular timbre, intensity level, even a specific vowel (things that may seem manipulative or wrongly motivated) but the singer may discover an authentic result that becomes a viable option for other situations.
Above all, though, the practice room is the place to discover those abilities and talents that have been there all along, simply not recognized! The student (you) must not be so focused on being correct that expressive energy disconnects from technique-building. The goal of mastering “the sound” alone will disappoint; you will lose motivation and the basic joy of singing–what I call “the fun factor.” Surprise yourself by discovering new sounds, effects and abilities that you actually already possess!