The Activity Patterns of Neck Muscles in Professional Classical Singing

The study aimed to characterize the activity patterns of neck muscles during classical singing. Muscle usage during inhalation and phonation and the relationship to changes in pitch and vocal loudness was of particular interest. Five professional opera singers (2 males, 3 females) participated. Surface electromyographic activity (EMG) was recorded from the upper trapezius (TR), the sternocleidomastoideus (STM), and the scalenus (SC) muscles and the muscles in the posterior neck region (PN). EMG activity in TR and STM was lowered by EMG biofeedback (BF), and the possible effect of lowered EMG activity in these muscles on the EMG activity of SC and PN was analyzed. A strain gauge sensor recorded the chest circumference of the thorax. Three singing tasks were performed. Each task was performed three times with variation in vocal loudness and pitch. After the first performance of the singing tasks, the BF session was carried out. Thereafter muscle activity was recorded in repeat performances of the same tasks, and the EMG amplitude of all muscles was compared before and after BF. We conclude that STM and SC showed correlated activity patterns during inhalation and phonation by classical singers. Second, substantial muscle activity was observed in PN during inhalation and phonation. BF performed on TR and STM had a secondary effect of lowering EMG activity in SC and PN. The activity of all neck muscles was markedly elevated when singing in the highest pitch. There was no consistent task-based difference in EMG amplitude for the other singing tasks.     

Neck and Shoulder Muscle Activity and Thorax Movement in Singing and Speaking Tasks with Variation in Vocal Loudness and Pitch

The aim of this study was to examine respiratory phasing and loading levels of sternocleidomastoideus (STM), scalenus (SC), and upper trapezius (TR) muscles in vocalization tasks with variation in vocal loudness and pitch. Eight advanced singing students, aged 22 to 28 years, participated. Surface electromyographic (EMG) activity was recorded from STM, SC, and TR. Thorax movement was detected by two strain gauge sensors placed around the upper (upper TX) and lower (lower TX) thorax. A glissando and simplified singing and speaking tasks were performed. Sustained vowels /a:-i-ae-o:/ were sung in a glissando from lowest to highest pitch (mixed voice/falsetto) back to lowest pitch and in short singing sequences at comfortable, low, and high pitches. The same vowels were spoken softly and loudly for about the same length. The subjects inhaled between the vowels. It was concluded that the inspiratory phased STM and SC muscles produced a counterforce to compression of upper TX at high pitches in glissando. STM and SC were activated to higher levels during phonation than in inhalation. As breathing demands were reduced, STM and SC activity was lowered and the respiratory phasing of peak amplitude changed to inhalation. TR contributed to exhalation in demanding singing with long breathing cycles, but it was less active in singing tasks with short breathing cycles and was essentially inactive in simplified speaking tasks.     

Consistency of phonatory breathing patterns in professional operatic singers

Breathing strategy is generally regarded as an important factor in operatic singing, because it is assumed to affect phonation. If so, professional singers should exhibit well-controlled, replicable breathing movements when repeating the same phrase. The purpose of the present study was to investigate to what extent professional opera singers show a consistent, exhalatory breathing behavior in a quasi-realistic concert situation. Respiratory movements were documented in 5 professional operatic singers, two women and three men, by means of respiratory inductive plethysmography. Comparison of respiratory data gathered from 3 renderings of the same phrases revealed high consistency with regard to lung volume (LV) behavior. The same applied to rib cage (RC) movements, suggesting a great relevance of RC control in singing. Consistency in abdominal wall (AW) movement was observed in 2 singers. These observations are in accordance with the idea that the breathing strategy plays an important role in voice production during singing. In addition, the correlation between LV changes, on the one hand, and RC and AW movements on the other, was examined. The contribution to LV changes from the RC and the AW varied across singers, thus suggesting that professional operatic singing does not request a uniform breathing strategy.     

Consistency of Inhalatory Breathing Patterns in Professional Operatic Singers

Respiratory behavior is generally considered important to voice function, the assumption being that it affects the voice source. Accurate and consistent control of the voice source is particularly important in professional operatic singing. An erratic behavior of a factor influencing voice production is incompatible with a well-controlled vocal behavior. We analyzed the consistency of inhalatory breathing patterns during singing in five professional operatic singers, using the same material as in a previous investigation of phonatory breathing patterns. Rib cage (RC) and abdominal wall (AW) movements were recorded by respiratory inductive plethysmography. Consistency was analyzed in terms of the mean correlation between three takes of ten musical phrases. Results revealed a high consistency in lung volume (LV) change and RC movements in all singers and in AW movements in three singers. Consistency across different phrases was slightly lower. The results are compatible with the idea that inhalatory behavior is important to voice source in singing. A high correlation between LV change and RC movement was found in all singers and between LV change and AW movement in three. The contribution to LV change from RC was greater than that from AW in all singers.     

Long-Term Horizontal Vocal Directivity of Opera Singers: Effects of Singing Projection and Acoustic Environment

Vocal directivity refers to how directional the sound is that comes from a singer's mouth, that is, whether the sound is focused into a narrow stream of sound projecting in front of the singers or whether it is spread out all around the singer. This study investigates the long-term vocal directivity and acoustic power of professional opera singers and how these vary among subjects, among singing projections, and among vastly different acoustic environments. The vocal sound of eight professional opera singers (six females and two males) was measured in anechoic and reverberant rooms and in a recital hall. Subjects sang in four different ways: (1) paying great attention to intonation; (2) singing as in performance, with all the emotional connection intended by the composer; (3) imagining a large auditorium; and (4) imagining a small theatre. The same song was sung by all singers in all conditions. A head and torso simulator (HATS), radiating sound from its mouth, was used for comparison in all situations. Results show that individual singers have quite consistent long-term average directivity, even across conditions. Directivity varies substantially among singers. Singers are more directional than the standard HATS (which is a physical model of a talking person). The singer's formant region of the spectrum exhibits greater directivity than the lower-frequency range, and results indicate that singers control directivity (at least, incidentally) for different singing conditions as they adjust the spectral emphasis of their voices through their formants.     

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.     

Self-reported voice problems among three groups of professional singers

A vocal health questionnaire was administered to three groups of professional singers and a “friendship-matched” group of nonsingers in Melbourne, Australia. The responses of 79 opera, 57 musical theatre and 31 contemporary (excluding rock) singers and 86 nonsingers were analysed. The questionnaire solicited information regarding biographical data speaking and singing voice-use behaviours, and vocal health over the previous 12 months in terms of experiences of vocal impairment, vocal disability, and handicap. Significant differences between singers and nonsingers in the prevalence and nature of voice problems were reported. Of the singers, 44% reported one or more occurrences of a diagnosed vocal condition compared to 21% of nonsingers and 69% of singers experienced vocal disability compared to only 41% of nonsingers, over the previous 12 months. In contrast, no significant differences were found between the three different styles of singers in their experience of vocal impairment, disability or handicap.     

Prevalence of and Risk Factors for Self-Reported Voice Problems Among Carnatic Singers

BackgroundUnlike Western opera singing, Carnatic singing requires powerful low pitched, loud voice. Singing in the right Shruti or pitch and appropriate breathing is given the main emphasis in this style of music. The present study was conducted to explore the prevalence of and possible risk factors for the self-reported voice problem (VP) in Carnatic singers.MethodThis cross-sectional survey was conducted by distributing the self-reporting questionnaires to 190 Carnatic singers in and around the Mysuru and Bengaluru districts of Karnataka state, India, from December 2016 to April 2017.ResultsThe Carnatic singers were found to have high career (35%) and point (23%) prevalence rates of VP. Clenching of teeth, frequent cold, difficulty in hearing, stress related to the profession, and regular intake of medications for different health-related problems were some of the risk factors found to have a significant association with high prevalence of self-reported VPs. Around 22% of the Carnatic singers missed at least 2–5 singing performances due to VP during their career.ConclusionsOverall, the results of this study reveal a high prevalence rate of self-reported VP in Carnatic singers, and they also suggest that the VPs are associated with different risk factors like any other form of singers. Further studies are needed to understand the effect of VP and to prevent it in this group of professional voice users.     

从表演者角度论述歌剧院的声学研究和设计

本文从解决歌手与乐队竞争的谜团入手,详述了歌剧院乐队演奏(缺乏高频声)和歌剧唱法(高频的歌手共振峰)的声音特点,进而提出了歌手和乐队之间平衡的声学设计(即放大歌手的歌唱声并适当降低乐队的演奏声,观众听起来歌手和乐队之间的声音保持平衡),重点论述了乐池的声学设计。然后分别从提高表演者的相互听闻(为了合奏的同步性)和提高房间的声反馈(为了控制演奏的响度)进行了论述,得出从表演者角度进行声学研究和设计的重要性。     

Singing proficiency in the general population

Most believe that the ability to carry a tune is unevenly distributed in the general population. To test this claim, we asked occasional singers (n=62) to sing a well-known song in both the laboratory and in a natural setting (experiment 1). Sung performances were judged by peers for proficiency, analyzed for pitch and time accuracy with an acoustic-based method, and compared to professional singing. The peer ratings for the proficiency of occasional singers were normally distributed. Only a minority of the occasional singers made numerous pitch errors. The variance in singing proficiency was largely due to tempo differences. Occasional singers tended to sing at a faster tempo and with more pitch and time errors relative to professional singers. In experiment 2 15 nonmusicians from experiment 1 sang the same song at a slow tempo. In this condition, most of the occasional singers sang as accurately as the professional singers. Thus, singing appears to be a universal human trait. However, two of the occasional singers maintained a high rate of pitch errors at the slower tempo. This poor performance was not due to impaired pitch perception, thus suggesting the existence of a purely vocal form of tone deafness.     

Respiratory function during speaking and singing in professional country singers

Respiratory function during speaking and singing was investigated in six male professional country singers. Function was studied using magnetometers to transduce anteroposterior diameter changes of the rib cage and abdomen while subjects performed various respiratory maneuvers, speaking activities, and singing activities. Results indicated that respiratory behavior during speaking was generally the same as that of other normal subjects. Respiratory behavior during singing resembled that of speaking. Discussion includes comparison of respiratory performance of present singers with untrained singers and classically trained singers. Implications are offered regarding how the results might be applied to the prevention of voice disorders by education and training of country singers.     

Comparing historical and contemporary opera singers with historical and contemporary Jewish cantors

This study is an attempt to ascertain if singers from different traditions and milieus follow similar aesthetic trends regardless of training and/or background. Cantors who sang the Jewish synagogue liturgy during the Golden Age of cantorial singing prior to World War II came from Eastern and Central Europe. For the most part, they were not trained in the classical Western opera tradition. They received training from choir leaders and other cantors and the training was primarily in the modes of synagogue chant. Cantors today receive the same kinds of training that opera singers receive, often from the same teachers. Four groups of singers, consisting of four singers in each group, were utilized in this study. The four groups are: historical opera singers, contemporary opera singers, historical cantors, and contemporary cantors. The historical opera singer recordings date from as early as 1909 to as late as 1939. It was not possible to determine the dates of the historical cantor recordings. However, the four cantors chosen for this group were active only to the 1940s. Contemporary samples were taken from CDs and/or live recordings and all the singers from the contemporary groups are either still active or were active in the 1960s through the 1980s and all of them are considered to be premier-level singers in their respective areas. The variables analyzed were: vibrato pulse rate, frequency variation of the vibrato pulse above and below the mean sustained sung frequency in percent, the mean amplitude variation of the amplitude vibrato pulse above and below the mean sustained amplitude in percent and the fast Fourier transform (FFT) power spectrum of the sustained samples. Results indicate that most of the significant differences were found between eras and not between groups within a time period.     

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.     

Taxonomy of singers used as subjects in scientific research

Criteria for determining the classification of singers in research has posed numerous problems for both researchers and their readership. Previous attempts at creating usable categories have failed because of disagreement within the professions involved in such research. The object of this paper is to explore and suggest a system in which scientific research related to singing is based on a quantifiable singing standard. Use of the systematic categorization set out in this paper will help to alleviate the questions regarding performance abilities of singers used as subjects in scientific projects and lead to more credible results. Nine singer categories have been consolidated and based on proven performance achievement. These categories range from superstar (household name) to local community and amateur singers with comprehensive subcategories under each topic for each type of singer, that is, opera, pop, jazz, etc.     

Perceptual and acoustic study of professionally trained versus untrained voices

Acoustic and perceptual analyses were completed to determine the effect of vocal training on professional singers when speaking and singing. Twenty professional singers and 20 nonsingers, acting as the control, were recorded while sustaining a vowel, reading a modified Rainbow Passage, and singing "America the Beautiful." Acoustic measures included fundamental frequency, duration, percent jitter, percent shimmer, noise-to-harmonic ratio, and determination of the presence or absence of both vibrato and the singer's formant. Results indicated that, whereas certain acoustic parameters differentiated singers from nonsingers within sex, no consistently significant trends were found across males and females for either speaking or singing. The most consistent differences were the presence or absence of the singer's vibrato and formant in the singers versus the nonsingers, respectively. Perceptual analysis indicated that singers could be correctly identified with greater frequency than by chance alone from their singing, but not their speaking utterances.     

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.     

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.     

The sound level of the singer's formant in professional singing

The relative sound level of the "singer's formant," measured in a 1/3-oct band with a center frequency of 2.5 kHz for males and of 3.16 kHz for females, has been investigated for 14 professional singers, nine different modes of singing, nine different vowels, variations in overall sound-pressure level, and fundamental frequencies ranging from 98 up to 880 Hz. Variation in the sound level of the singer's formant due to differences among male singers was small (4 dB), the factors vowels (16 dB) and fundamental frequency (9-14 dB) had an intermediate effect, while the largest variation was found for differences among female singers (24 dB), between modes of singing (vocal effort) (23 dB), and in overall sound-pressure level (more than 30 dB). In spite of this great potential variability, for each mode of singing the sound level of the singer's formant was remarkably constant up to F0 = 392 Hz, due to adaptation of vocal effort. This may be explained as the result of the perceptual demand of a constant voice quality. The definition of the singer's formant is discussed.     

Jaw Opening in Novice and Experienced Classically Trained Singers

This study examined the amount of jaw opening used by two groups of singers, those with less than 4 years of training (novice) and those with more than 8 years of training (experienced) in the Western tradition of opera and art song. Movement of the jaw in the superior-inferior plane was measured with the use of a lightweight head-mounted cephalostat with a strain gauge. The subjects spoke and then sung a carrier phrase "I say b(v)p," where (v) was each of three vowels, [a], [i], and [u]. The phrase was first spoken with a natural inflection and then sung on a repeated pitch at three notes from the low, medium, and high singing voice range. There was no statistically significant difference in jaw opening between the two groups of singers. Vowel was significant for jaw opening in both groups, with [a] being produced with more jaw opening than [i] or [u]. The voicing condition was also significant for jaw opening with greater jaw opening being used as pitch increased. In general the amount of jaw opening was smallest for the low singing voice condition and greatest for the high singing voice condition. The jaw opening most typically was less in the low voice condition than in the speech condition and then increased for both the medium and high voice tasks. All but two singers used more jaw opening on the [a] vowel than the other two vowels at all voicing conditions.     

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.