Preparing the singing voice specialist revisited

In review of singing voice specialist preparation, discussion can be chronicled prior to the establishment of Arts Medicine in 1987. Although discussion began in 1984 (and earlier), no formal academic program currently exists to train the singing voice specialist. The need now is greater than ever for a formal program of study to prepare a person who seeks to be a singing voice specialist. The question of adequate preparation continues to be in need of an appropriate answer because no formal training programs or fellowships are available. It is essential to first define the role of singing voice specialists and the populations that they will encounter. To meet the needs of a diverse population, care of the professional voice demands cross-disciplinary training. Knowledge from the fields of music, science, medicine and communication disorders and experience/observation, clinical preparation, and research would provide for optimal preparation. To meet this need, development of a Masters degree program seems highly desirable. The structure of such a program is proposed, along with specific requirements outlined from the music and singing voice pathology components for a Masters Degree in Arts Medicine with a concentration in voice.     

Effects of Topical Anesthetic and Flexible Fiberoptic Laryngoscopy on Professional Sopranos

This study examined the acoustic and perceptual effects of topical anesthetic and flexible fiberoptic laryngoscopy (FFL) against a control condition on the singing voices of ten professional sopranos. Recordings of a section of an aria, various scales, and a messa di voce exercise were obtained in the three experimental conditions. Acoustic analyses of the same aria section recorded during the three conditions were similar with respect to the distribution of energy across the spectrum (LTAS) and vibrato rate and extent. The ability of the participants to achieve their highest and lowest notes or to complete the messa di voce was also not affected by the anesthetic or FFL. Perceptual ratings of a variety of parameters by experienced singing teachers also revealed little difference across conditions with only "appropriate velopharyngeal closure" found to differ in one comparison. These results indicate that highly experienced operatic sopranos are either not affected by or appear to have the ability to compensate for the presence of anesthetic and the FFL. The most likely explanation is that this group of singers relied on a solid vocal technique. Results will need to be replicated on less accomplished singers before concluding that this medical procedure does not affect the operatic singing voice.     

A Preliminary Study of Vocal Health Among Collegiate A Cappella Singers

ObjectiveCollegiate a cappella groups have grown significantly in popularity and prominence; however, there have been few studies that evaluate the vocal health of this subgroup of young singers. The objective of this preliminary study was to conduct a multiparametric evaluation of the vocal health characteristics of a sample of collegiate a cappella singers. We further tested whether differences in vocal health assessments exist between a cappella singers with and without vocal training and trained collegiate singers who do not participate in a cappella groups.Study designPoint prevalence study.MethodsForty-one collegiate singers participated in this study. Participants were divided into the following three groups: trained singers (TS), trained a cappella singers (ATS), and untrained a cappella singers (AUS). Participants were administered a set of surveys to assess self-perception of singing voice health and perceived access and attitudes toward voice-related health care. Acoustic and laryngoscopic assessments of participant's speaking and singing voice was performed and validated vocal health questionnaires administered as a means to objectively evaluate for the presence of voice problems.ResultsOverall, 87.5% of the ATS and 60% of the AUS groups reported experiencing problems with their singing voice. However, no vocal abnormalities were detected during laryngoscopic and acoustic assessments. Furthermore, minimal differences between any of the measured vocal health parameters were observed between the TS, ATS, and AUS groups.ConclusionCollectively, a high percentage of collegiate a cappella singers with and without vocal training report singing voice problems. However, our sample of a cappella singers did not have increased singing voice problems as compared to vocally trained collegiate singers not in a cappella groups. We did find that a cappella singers may be more inclined to seek information about maintaining a healthy singing voice from their fellow musicians as opposed to singing teachers or other voice health professionals. Singing teachers, otolaryngologists, and speech-language pathologists may need to play a more active role in educating a cappella singers regarding maintaining good vocal health.     

The singing teacher as vocal parent

Vocal parenting is a pedagogical approach that views the teachingof singing to children as a nurturing process. It encompasses the development of fundamentally sound vocal technique, guidance in repertoire selection and performance practices, and concern for the physical, mental, and emotional well-being of the child as a singer, performer, and person. Role-play and storytelling are among the strategies employed to fully integrate vocal technique with the personality of the singer.     

Development of an Auditory-Perceptual Rating Instrument for the Operatic Singing Voice

Although considerable progress has been made in the development of acoustic and physiological measures of operatic singing voice, there is still no widely accepted objective tool for the evaluation of its multidimensional features. Auditory-perceptual evaluation, therefore, remains an important evaluation method for singing pedagogues, voice scientists, and clinicians who work with opera singers. Few investigators, however, have attempted to develop standard auditory-perceptual tools for evaluation of the operatic voice. This study aimed to pilot test a new auditory-perceptual rating instrument for operatic singing voice. Nine expert teachers of operatic singing used the instrument to rate the singing voices of 21 professional opera chorus artists from a national opera company. The findings showed that the instrument has good face validity, that it can be legitimately treated as a psychometrically sound scale, and that raters can use the scale consistently, both between and within judges. This new instrument, therefore, has the potential to allow opera singers, their teachers, voice care clinicians, and researchers to evaluate the important auditory-perceptual features of operatic voice quality.     

Evaluation of Support in Singing

This study searched for perceptual, acoustic, and physiological correlates of support in singing. Seven trained professional singers (four women and three men) sang repetitions of the syllable [pa:] at varying pitch and sound levels (1) habitually (with support) and (2) simulating singing without support. Estimate of subglottic pressure was obtained from oral pressure during [p]. Vocal fold vibration was registered with dual-channel electroglottography. Acoustic analyses were made on the recorded samples. All samples were also evaluated by the singers and other listeners, who were trained singers, singing students, and voice specialists without singing education (a total of 63 listeners). We rated both the overall voice quality and the amount of support. According to the results, it seemed impossible to observe any auditory differences between supported singing and good singing voice quality. The acoustic and physiological correlates of good voice quality in absolute values seem to be gender and task dependent, whereas the relative optimum seems to be reached at intermediate parameter values.     

Effect of Hydration and Vocal Rest on the Vocal Fatigue in Amateur Karaoke Singers

Karaoke singing is a very popular entertainment among young people in Asia. It is a leisure singing activity with the singer's voice amplified with special acoustic effects in the backdrop of music. Music video and song captions are shown on television screen to remind the singers during singing. It is not uncommon to find participants singing continuously for four to five hours each time. As most of the karaoke singers have no formal training in singing, these amateur singers are more vulnerable to developing voice problems under these intensive singing activities. This study reports the performance of 20 young amateur singers (10 males and 10 females, aged between 20-25 years) on a series of phonatory function tasks carried out during continuous karaoke singing. Half of the singers were given water to drink and short duration of vocal rests at regular intervals during singing and the other half sang continuously without taking any water or rest. The subjects who were given hydration and vocal rests sang significantly longer than those who did not take any water or rest. The voice quality, as measured by perceptual and acoustic measures, and vocal function, as measured by phonetogram, did not show any significant changes during singing in the subjects who were given water and rest during the singing. However, subjects who sang continuously without drinking water and taking rests showed significant changes in the jitter measure and the highest pitch they could produce during singing. These results suggest that hydration and vocal rests are useful strategies to preserve voice function and quality during karaoke singing. This information is useful educational information for karaoke singers.     

Should Singing Activities Be Included in Speech and Voice Therapy for Prepubertal Children?

Customarily, speaking and singing have tended to be regarded as two completely separate sets of behaviors in clinical and educational settings. The treatment of speech and voice disorders has focused on the client's speaking ability, as this is perceived to be the main vocal behavior of concern. However, according to a broader voice-science perspective, given that the same vocal structure is used for speaking and singing, it may be possible to include singing in speech and voice therapy. In this article, a theoretical framework is proposed that indicates possible benefits from the inclusion of singing in such therapeutic settings. Based on a literature review, it is demonstrated theoretically why singing activities can potentially be exploited in the treatment of prepubertal children suffering from speech and voice disorders. Based on this theoretical framework, implications for further empirical research and practice are suggested.     

Comparisons of pharynx, source, formant, and pressure characteristics in operatic and musical theatre singing

Belting, a vocal technique typically cultivated in musical theatre singing, differs timbrally from operatic singing in many interesting respects. The underlying phonatory differences have not been previously investigated in detail. Yet, belting is frequently associated with disturbances of voice function. Articulatory and phonatory characteristics are investigated in a female subject who is a professional singer (co-author JL) trained in both the operatic and belting styles and in an intermediate vocal technique (“mixed”). This article presents data obtained from this subject by video-fiberoptic observation of the pharynx, inverse filtering of airflow, and measurement of subglottal pressure. The results reveal that belting was characterized by very high subglottal pressures and sound levels, and apparently also by a comparatively high degree of glottal adduction. Comparisons with other investigations of related aspects of belting and operatic singing support the assumption that the data obtained from our subject are representative for these vocal techniques.     

Open and covered singing as studied by means of fiberoptics, inverse filtering, and spectral analysis

Covering the voice near the passaggio is a technique mainly used in male classic Western singing. The purpose is said to be to smooth the register transition and avoid register breaks. The physiological and acoustical differences between open and covered singing near the so-called passaggio were investigated by means of fiberoptics, inverse filtering, and spectral analysis. The study corroborated previous findings that covering physiologically means a widening and lengthening of the pharynx. Acoustically, covering implies a change of formant frequencies, and an elevated sound pressure level of the lowest source spectrum partial, i.e., the fundamental, resulting from an increased transglottal air flow. The findings indicate that covered singing also is associated with larynx lowering. Covered singing near the passaggio shows similarities to so-called phonation, and is probably preferable from the point of view of vocal hygiene.     

Role of vortex structures in excitation of condensed system self-oscillatory burning

The effect of free convection and vortex structures arising near the “singing” flame of a gasoline blow torch on excitation of thermal self-oscillations in a resonator tube is studied experimentally. A technique for measuring the oscillation amplitude of the gas column is suggested. It is found that the excitation of acoustic oscillations decreases the height of the singing flame and the mass velocity of burning but raises the gasoline combustion efficiency. The variation of the temperature field of the singing flame over an oscillation cycle is studied by digital photometry. Hysteretic dependences of the acoustic oscillation amplitude on the thermal power of the gasoline diffusion flame are obtained. A mechanism explaining the influence of vortex structures on the self-oscillatory mode of burning in condensed systems is discussed.     

Laryngeal movements in saxophone playing: Video-endoscopic investigations with saxophone players: A pilot study

In a pilot study, motions of the larynx and hypopharynx and diaphragm during saxophone playing of two wind instrumentalists were documented by fiberoptic video-endoscopy and fluoroscopy. Velopharyngeal closure is sufficient, even under conditions of flexible transnasal laryngoscopy. During blowing to play the saxophone the larynx is kept in a constant low position, equivalent to that in singing. The laryngeal vestibule is slightly narrowed. After abduction in inspiration, vocal folds are partly adducted during the entire duration of the tone produced. Piano-forte-glissando maneuvers are performed with vocal folds in the paramedian position. The larynx seems to participate actively in saxophone playing by regulating the airflow. We also performed fluoroscopy of diaphragm movements. The overlapping competencies of woodwind playing and singing are discussed with regard to breathing technique of students and performers.     

Comparison of vocal tract formants in singing andnonperiodic phonation

The skilled use of nonperiodic phonation techniques in combination with spectrum analysis has been proposed here as a practical method for locating formant frequencies in the singing voice. The study addresses the question of the degree of similarity between sung phonations and their nonperiodic imitations, with respect to both frequency of the first two formants as well as posture of the vocal tract. Using magnetic resonance imaging (MRI), linear predictive coding (LPC), and spectrum analysis, two types of nonperiodic phonation (ingressive and vocal fry) are compared with singing phonations to determine the degree of similarity/difference in acoustic and spatial dimensions of the vocal tract when these phonation types are used to approximate the postures of singing. In comparing phonation types, the close similarity in acoustic data in combination with the relative dissimilarity in spatial data indicates that the accurate imitations are not primarily the result of imitating the singing postures, but have instead an aural basis.     

Performance effects on the voices of 10 choral tenors: Acoustic and perceptual findings

Trained choral tenors performed a series of vocal tasks before and after a “live” performance. Acoustic (perturbation, harmonic-to-noise ratio, pitch and amplitude ranges) and perceptual analyses (auditory and proprioceptive/kinesthetic) were undertaken to detect changes from pre- to postperformance. Individuality of response to the performance was revealed, with the majority of subjects showing vocal deterioration after performance. The most sensitive vocal tasks were the comfortably pitched notes, high soft notes, and the bottom notes in scale singing. The most sensitive acoustic measure in detecting change from pre- to postperformance was harmonic-to-noise ratio. In contrast to the demonstrated acoustic changes, no significant differences in perceptual ratings were evident after the performance. Perceptual ratings did not reflect the acoustic analysis results. The present study highlights the need to establish further normative data for the singing voice and to consider individual differences in vocal characteristics in future studies of the singing voice.     

Feedback from spectrum analysis applied to the singing voice

Despite the general availability in the past two decades of the spectrum analyzer and prominent pedagogical theories concerning the conscious tuning of vowel formants to enhance the singing voice, there has been little reported use of spectrum analysis to track formant frequencies in singing. An important exception is Sundberg's work (1) on the soprano voice. The reasons for this neglect are considered: in the singing range where information on formant tuning would be most helpful, the wide spacing of the harmonics renders the formants difficult to locate by spectrum analysis. Methods are described for obtaining continuous spectrograms with the vocal tract in the varied articulations of singing by using sweep tones and nonharmonic voice sources, and thus locating quickly and accurately the frequencies of the first five formants.     

Long-Term-Average Spectrum Characteristics of Country Singers During Speaking and Singing

Five premier male country singers involved in our previous studies spoke and sang the words of both the national anthem and a country song of their choice. Long-term-average spectra were made of the spoken and sung material of each singer. The spectral characteristics of county singers' speech and singing were similar. A prominent peak in the upper part of the spectrum, previously described as the "speaker's formant," was found in the county singers' speech and singing. The singer's formant, a strong spectral peak near 2.8 kHz, an important part of the spectrum of classically trained singers, was not found in the spectra of the country singers. The results support the conclusion that the resonance characteristics in speech and singing are similar in country singing and that county singing is not characterized by a singer's formant.     

Vowel Intelligibility in Classical Singing

Vowel intelligibility during singing is an important aspect of communication during performance. The intelligibility of isolated vowels sung by Western classically trained singers has been found to be relatively low, in fact, decreasing as pitch rises, and it is lower for women than for men. The lack of contextual cues significantly deteriorates vowel intelligibility. It was postulated in this study that the reduced intelligibility of isolated sung vowels may be partly from the vowels used by the singers in their daily vocalises. More specifically, if classically trained singers sang only a few American English vowels during their vocalises, their intelligibility for American English vowels would be less than for those classically trained singers who usually vocalize on most American English vowels. In this study, there were 21 subjects (15 women, 6 men), all Western classically trained performers as well as teachers of classical singing. They sang 11 words containing 11 different American English vowels, singing on two pitches a musical fifth apart. Subjects were divided into two groups, those who normally vocalize on 4, 5, or 6 vowels, and those who sing all 11 vowels during their daily vocalises. The sung words were cropped to isolate the vowels, and listening tapes were created. Two listening groups, four singing teachers and five speech-language pathologists, were asked to identify the vowels intended by the singers. Results suggest that singing fewer vowels during daily vocalises does not decrease intelligibility compared with singing the 11 American English vowels. Also, in general, vowel intelligibility was lower with the higher pitch, and vowels sung by the women were less intelligible than those sung by the men. Identification accuracy was about the same for the singing teacher listeners and the speech-language pathologist listeners except for the lower pitch, where the singing teachers were more accurate.     

Vocal fold strain and vocal pitch in singing:Radiographic observations of singers and nonsingers

The relationship between vocal fold strain and vocal pitch in singersand nonsingers singing a rising pitch series has been indirectly investigated by means of lateral radiographs. Nonsingers tend to exhibit more strain than singers. To standardize the degree of strain, an index of strain per semitone is proposed. The semitone strain indicates the average amount of strain per 1 semitone of pitch increase or decrease. The index has been shown to be affected by several factors: gender, singing training, singing technique, voice class, age, and status of muscle function. Observations suggest that similar groups of individuals occupy different positions on the stress-strain curve, indicated by their semitone strain values.     

Potential factors related to untrained singing talent: a survey of singing pedagogues

A national survey was conducted to identify factors associated with untrained singing talent based on perceptions obtained from a homogeneous group of professional singing pedagogues. Survey items included questions related to the perception of singing talent, factors associated with untrained singing talent, and physiological variables that distinguished untrained singing talented individuals from those without obvious singing talent. The survey data suggested that intonation, timbre, and musicality were rated the most important factors associated with the perception of singing talent in an untrained individual. Environmental influences and genetics were rated most important for explaining why one individual would express singing talent and another would not. In addition, the data suggested that abilities related to the control of pitch distinguished untrained talented individuals from those without singing talent more than other physiological variables.