Classical Singers Research Articles

Principles of Motor Learning in Classical Singing Teaching

Classical singing is a complex and multifaceted skill that requires the amalgamation of multiple cognitive, perceptual and motor functions. The teaching of classical singing is consequently a unique skill that holds further complexity. The singer is required to achieve and maintain consistently high performance development of a specific motor activity, much like the sports athlete. This pilot study examines a method of using the principles of motor learning to more objectively and reliably investigate the teaching behaviors of classical singing teachers. Such a method may establish a nexus between empirical research, teaching quality and learning outcomes in music performance education. A total of 12 participants were recruited from two Australian conservatoria of music. All participants were fluent in English at tertiary level. Participants included four classical singing teachers and eight classical singing students over the age of 18 years. Eight one-to-one singing lessons between the teacher and student were audio-visually recorded. Content analysis was conducted on the observational data. The principles of motor learning were used as a behavioral framework protocol to allow for the systematic identification of teaching behavior. Results presented various findings regarding teaching behaviors in one-to-one classical singing lessons in higher music education. Key findings included (a) common use of instruction, feedback, modeling, and other behaviors (b) uncommon use of motivation, explanation, and perceptual training behaviors, (c) higher use of knowledge of results than knowledge of performance feedback behaviors, (d) high routine use of instruction, modeling, and feedback behaviors each time a student attempted a task, (e) common use of other suggested teachers use behaviors unidentifiable by the behavioral protocol, and (f) the principles of motor learning appear to be a reliable framework for the identification of teaching behaviors in this field. This study may have implications for how teachers administer and govern their behaviors in one-to-one classical singing lessons. The principles of motor learning may encourage a nexus between empirical research, teaching quality, and learning outcomes. Furthermore, this study provides recommendations for future research on systematically improving teaching and learning in this field.

Spectrum Effects of a Velopharyngeal Opening in Singing

The question whether or not a velopharyngeal opening is advantageous in singing has been discussed for a very long time among teachers of singing. The present investigation analyzes the acoustic consequences of a large, a narrow, and a nonexistent velopharyngeal opening (VPO). A divided flow mask (nasal and oral) connected to flow transducers recorded the nasal and oral DC flows in four female and four male classically trained singers while they sang vowel sequences at different pitches under these three experimental conditions. Acoustic effects were analyzed in three long-term average spectra parameters: (i) the sound level at the fundamental frequency, (ii) the level of the highest peak below 1 kHz, and (iii) the level of the highest peak in the 2-4 kHz region. For a narrow VPO, an increase in the level of the highest peak in the 2-4 kHz region was observed. As this peak is an essential voice component in the classical singing tradition, a narrow VPO seems beneficial in this type of singing.

Balancing Performing and Teaching Roles: The Voice of Classical Singers.

How do classical singers combine performing and teaching, two highly challenging and consuming careers? The life of a performer combines reward with intense challenging commitment. Furthermore, for the classical vocalist whose body is the instrument, maintaining good health is a priority. Teachers of singing have demanding roles, with the responsibility of guiding their students' vocal technique, in addition to providing inspiration, emotional support and career guidance. Moreover, their work can be taxing on their voices. There is research pertaining to musicians who balance teaching and performing, however the literature reviewed did not present a study which focused solely on classical singers who also teach, whose operatic engagements can be lengthy and travel-orientated. This gap in the literature provided an opportunity to contribute further to the field and examine the relationship between successfully balancing a performance and teaching career for classical vocalists. My aim was to explore: (1) how classical vocalists with extensive performance schedules maintain a commitment to their teaching studio; and (2) how teachers of singing who manage large private studios, and/or teach at high-level music institutions, balance performance careers with their responsibilities to their students. A phenomenological approach was selected for my exploratory study, using a qualitative method to devise an interview guide and analyze data. The procedure used for selecting the sample group was to invite participants representing a range of professional involvement in both teaching and performing. Diversity with regards to gender, base location and experience was also considered. Participants mainly responded via e-mail interviews. They were invited to discuss the following themes: balancing performing obligations with commitments to students, benefits of performing on pedagogy, and maintaining vocal health. Overall, participants felt that their performance experience was essential to their work in the teaching studio, with performing seen as a source of learning to be transmitted to students. On the other hand, for some, teaching was also seen as a source of learning, enhancing performances. Although demanding, the benefits of maintaining and enjoying both a teaching role and an active performing life were affirmed by participants. Attempting to balance both roles becomes a constant quest.

Building Bridges Between the Modern Composer and Classically Trained Singer

Name: Georgi Sztojanov Main Subject: Classical Singing Research Supervisor: Anna Scott, Yannis Kyriakides Title of Research: Building a Bridge Between the Contemporary Composer and Classically-Trained Singer Research Question: How can the aesthetic oxymoron between the wishes of modern composers and the needs of singers be mediated or resolved, and what changes could be made on both sides in order to achieve a more fruitful relationship, resulting in compositions that are both singable and that explore the voice's potential beyond its Classical boundaries? Summary of Results: As a case study, I document the process of learning the tenor solo in Louis Andriessen's De Materie, and discuss how my classical training helped me to sing this demanding part even though it is not meant to be sung with a Romantic sound. After discussing two further projects in which I acted as a mediator between composers and singers, I found my initial suspicions to be true: many composers do not receive enough education in composing for the voice, meaning that they do not respect its physical limitations, they often misjudge the combination of ranges, dynamics and colors possible, and they believe that any singer can reproduce any sound (regardless of culture, style, or tradition). Clearly, studying these elements while working closely with singers would be one solution, as would choosing a more performer-centric notational system including expression markings and other indications that invite singers to find the intention or subtext behind the music—all of which can help the singer's instrument work more effectively. For their part, singers need more training in music theory, solfege and score reading skills, and while they need to master their classical technique, they must also be openminded and flexible enough to experiment beyond that training—while staying within the healthy limits of their sound production, and knowing how to communicate in order to preserve these boundaries. This study helped me to successfully mediate between composer-singer collaborators, and I hope to turn my findings into a booklet for those looking to create beautiful and exciting new vocal works together—not in spite of one another. Biography: Georgi Sztojanov has two MAs in composition from the Liszt Academy in Budapest and The Royal Conservatoire of The Hague. He obtained his BA in singing in 2016 with Sasja Hunnego. As both singer and composer he has broad experience with vocal premieres, multidisciplinary collaborative works, and leading ensembles and festivals. He received the Tenso Young Composers Award in 2014. As a composer he has a wide spectrum of works, and as a singer his activities are equally diverse, ranging from opera to lied, numerous premieres, staged productions, and ensemble singing (recently as a member of Groot Omroepkoor).

On the Model of “National” and “International” Style (Illustrated by vocalises of S. Pavliuchenko, M. Zavalyshyna, O. and R. Voronin)

On the Model of “National” and “International” Style (Illustrated by vocalises of S. Pavliuchenko, M. Zavalyshyna, O. and R. Voronin)

성악가의 음성위생 습관과 한국어판 음성관련 삶의 질(K-VRQOL) 특성

The purpose of this study was to investigate vocal hygiene habits and Korean Voice-Related Quality of Life (K-VRQOL) among classical singers. A total of 128 classical singers filled an online voice and K-VRQOL questionnaire, and the results were analyzed. In order to investigate the characteristics of K-VRQOL according to age groups, and the presence or absence of a history of voice problems, we conducted a two-way ANOVA. The results are as follows. Of the 128 classical singers, 28 (21.9%) with a history of voice problems said that excessive conversation, singing practice, and yelling were the causes of their voice problems. The symptoms of voice problems were fatigue, loss of range, hoarseness, and breathiness. In addition, classical singers were less likely to smoke, or to drink alcohol or caffeine. The K-VRQOL was highly correlated with all sub-domains. There was a statistically significant difference according to age groups (<italic>p</italic>&lt;.05) and history of voice problems (<italic>p</italic>&lt;.01). There was no correlation between age groups and history of voice problems. Voice management is important because classical singers can ruin their voice by speaking, and the risk of voice disorder is high. Voice problems affect quality of life. In future studies, it is necessary to obtain information on the subjective voice characteristics of classical singers by examining the relationship between their voice hygiene habits and VHI, SVHI, and K-VRQOL.

성악가의 음성위생 습관과 한국어판 음성관련 삶의 질(K-VRQOL) 특성

성악가의 음성위생 습관과 한국어판 음성관련 삶의 질(K-VRQOL) 특성

La resonancia del cante flamenco: un estudio acústico y comparativo con el canto clásico

In a singeŕs vocal assessment it is not sufficient to diagnose the existence of resonance without also specifying its quality. A resonated voice has a broad harmonic content and can be achieved in many ways. ObjectiveTo analyze and validate Alfredo Krausśs hypothesis on the use of paranasal sinuses by flamenco singers, in order to naturalize voice sound, also called “/i/ technique”, equalizing all sounds based on this vowel. We translated this hypothesis into acoustic parameters using Singing Power Ratio (SPR) as a resonance measure of different vowels. MethodParticipants were divided into: a)Flamenco Experimental Group (FEG), 23 flamenco singers recruited from the Cristina Heeren Foundation in Seville, Garrotín Flamenco School and Reina Sofía Flamenco School in Granada, and b)Classical Control Group (CCG), 21 classical singers from the Cristobal de Morales conservatory in Seville and Victoria Eugenia conservatory in Granada. All the participants had over 2 years of experience. The SPR was calculated in sustained phonation tasks using Fast Fourier Transformation (FFT) algorithm for the vowels /a/, /i/, /u/. A comparative assessment between the groups was made using ANOVA. ResultsSignificant differences were found only in /i/, where the FEG obtained higher resonance values than CCG (up to 7bB difference). ConclusionsSound support in the vowel /i/ indicates how flamenco singers place vocal tract to amplify voice sound during singing, as Krauss suggests. Therefore, flamenco singers’ resonance technique differs from the classical.

A Pilot Survey of Warm-Up Practices and Perceptions Among Indian Classical Singers

Studies have highlighted the importance of having an adequate vocal warm-up exercise regime for prevention of vocal fold injury among singers. Indian classical singing has several singing exercises aimed at improving vocal range and voice. Thus, a need was felt to survey these singers for the warm-up practices they follow and their perception about them. Cross-sectional study design. A 20-item questionnaire was used comprising of questions on demographic details, vocal warm-up singing, and nonsinging-based practices, perceptions about importance of vocal warm-up, and perceptions about effects of vocal warm-up on voice. Fifty Indian classical singers were surveyed. Sixty-four percent of them used vocal warm-up on a daily basis, whereas the remaining did it weekly. Among the singing-based vocal warm-ups, a combination of different singing notes and scales were most commonly used. The popular nonsinging-based warm-up exercises were breathing practice, humming, and meditation. Overall, the singers had a positive perception of the importance of vocal warm-up. Notably, 94% agreed to the importance of having a vocal warm-up regularly before singing. The findings of the present study will help in understanding the existing vocal warm-up regime and perception of the singers. It will benefit counseling singers regarding vocal hygiene, voice care, and management.

The Nasal Musculature as a Control Panel for Singing—Why Classical Singers Use a Special Facial Expression?

This study aimed to explain the possible reason why classical singers seem to spread their nostrils and raise their cheeks before starting to sing. This is an experimental study. Five subjects (three classical singers, two nonsingers) were investigated with nasofiberoscopy holding their breath after inhalation. The subjects were instructed to have a neutral expression first and then to take the singers' expression characterized by nostril flaring. In case of nonsingers, the special expression was rehearsed beforehand, guided by a classical singer. The following measurements were made: (1) height of soft palate, (2) area of the hypopharynx, (3) area of the epilaryngeal tube inlet (Aditus laryngis), and (4) dimensions of the (visible) glottis (length, width, and length-to-width ratio). All subjects raised the palate and widened the pharyngeal inlet, epilaryngeal inlet, and the glottis during "singer's expression." The results suggest that classical singers may take advantage of breathing- and smelling-related connections between nasal and facial muscles and the larynx to avoid a hard glottal attack and pressed phonation and possibly also to assist the production of mixed register (head voice), characterized by a relatively low adduction between the vocal folds.

A Case Study on Vocal Aerobic Treatment Voice Therapy Development and Application for Classical Singers

A Case Study on Vocal Aerobic Treatment Voice Therapy Development and Application for Classical Singers

Trans-becomings in Western classical singing: An intra-active approach

This exposition is an attempt to think transgender existence and experiences in relation to voice and the particular practices of western classical singing. A key source of inspiration for this voice and music-bound line of exploration is our collaboration with Finnish singer, voice teacher and trans man Demian Seesjärvi. Thus, the propositions presented here are meant to take form in-between Seesjärvi’s vocalizations, his spoken and written reflections on his body/voice and artistic activity, and the research interests and concepts that we bring into these encounters. The exposition explores the interrelations of trans existence and vocal art practices through Seesjärvi’s distinctive practice in classical singing. Our accompanying theoretical aim is to participate in recent discussions about how materiality - or better, materialities - matter a great deal in trans ways of being or becoming and the unfolding of trans selves. In particular, we engage with Seesjärvi’s activities as a classically trained singer by asking how his artistry and perhaps the music-cultural field of classical singing more generally prompt important insights into the co-formations of body, voice and sex/gender in trans ways of being. How do material, cultural and discursive aspects interrelate - or, in the terms used in this exposition, intra-act - within these formations? How can new materialist ideas concerning the emergent, instead of passive or predictable, character of matter, and the intra-active occurring of materialities and other phenomena, (e.g. Barad 2003; 2007) advance understandings of materiality, voice and sex/gender in vocal art practices and trans studies of music?

Effects of perceived singing effort on classical singers’ reverberation time preferences towards music practice rooms

The purpose of this study is to investigate the effect of perceived singing effort on classical singers’ reverberation time preferences in individual music practice rooms. The method has combined objective measurements (RT) and perceptual responses of participants. The participant group [N = 30] has consisted of five different backgrounds in vocal studies; early music education (EME) students, skilled amateurs, undergraduate singing students, graduate singing students, and professionals. Classical singers has been asked to sing with as high and as low as they could with melisma singing style (in opera singing technique) in three different room settings which had following reverberation times; around 0.6 s, 0.8 s, and 1.0 s. These were the values, which acoustical standards for music schools recommended. The participants have also been asked to sing with three different singing volumes in each room setting. The findings have been analysed statistically. The results showed that classical singers have preferred the room setting with 0.8 s reverberation time considering their overall experience in these room settings. Classical singers’ perceived singing effort had a statistically significant relationship with preferred room setting. Furthermore, it has been found that there is a relationship between preference and background in vocal studies.

Emotion Recognition From Singing Voices Using Contemporary Commercial Music and Classical Styles

This study examines the recognition of emotion in contemporary commercial music (CCM) and classical styles of singing. This information may be useful in improving the training of interpretation in singing. This is an experimental comparative study. Thirteen singers (11 female, 2 male) with a minimum of 3 years' professional-level singing studies (in CCM or classical technique or both) participated. They sang at three pitches (females: a, e1, a1, males: one octave lower) expressing anger, sadness, joy, tenderness, and a neutral state. Twenty-nine listeners listened to 312 short (0.63- to 4.8-second) voice samples, 135 of which were sung using a classical singing technique and 165 of which were sung in a CCM style. The listeners were asked which emotion they heard. Activity and valence were derived from the chosen emotions. The percentage of correct recognitions out of all the answers in the listening test (N = 9048) was 30.2%. The recognition percentage for the CCM-style singing technique was higher (34.5%) than for the classical-style technique (24.5%). Valence and activation were better perceived than the emotions themselves, and activity was better recognized than valence. A higher pitch was more likely to be perceived as joy or anger, and a lower pitch as sorrow. Both valence and activation were better recognized in the female CCM samples than in the other samples. There are statistically significant differences in the recognition of emotions between classical and CCM styles of singing. Furthermore, in the singing voice, pitch affects the perception of emotions, and valence and activity are more easily recognized than emotions.

Brain activity during phonation in healthy female singers with supraglottic compression: an fMRI pilot study

This pilot study evaluated the usability of functional magnetic resonance imaging (fMRI) to detect brain activation during phonation in healthy female singers with supraglottic compression. Four healthy female classical singers (mean age: 26 years) participated in the study. All subjects had normal vocal folds and vocal characteristics and showed supraglottic compression. The fMRI experiment was carried out using a block design paradigm. Brain activation during phonation and exhalation was analyzed using Brain Voyager software (Brain Innovation B.V., Maastricht, The Netherlands). An fMRI data analysis showed a significant effect of phonation control in the bilateral pre/postcentral gyrus, and in the frontal, cingulate, superior and middle temporal gyrus, as well as in the parietal lobe, insula, lingual gyrus, cerebellum, thalamus and brainstem. These activation areas are consistent with previous reports using other fMRI protocols. In addition, a significant effect of phonation compared to exhalation control was found in the bilateral superior temporal gyrus, and the pre/postcentral gyrus. This fMRI pilot study allowed to detect a normal pattern of brain activity during phonation in healthy female singers with supraglottic compression using the proposed protocol. However, the pilot study detected problems with the experimental material/procedures that would necessitate refining the fMRI protocol. The phonation tasks were not capable to show brain activation difference between high-pitched and comfortable phonation. Further fMRI studies manipulating vocal parameters during phonation of the vowels /a/ and /i/ may elicit more distinctive hemodynamic response (HDR) activity patterns relative to voice modulation.

Singing in Yiddish

It is standard for classical singers in the United States to be trained in the singing diction of the German, Italian, and English languages. This sung diction varies from the spoken diction for those languages and is therefore important for singers to study in classes dedicated to singing language pronunciation. Literature is also available for the instruction in the singing diction of numerous other languages like Latin, Spanish, Czech, Russian, and Hebrew. While there is a vast scope of languages represented by vocal diction guides, there is no available singing diction guide for Yiddish songs, despite the spectrum of classical Yiddish vocal repertoire in genres such as art songs, cantatas, operas, operettas, and stage plays. This article gives a back story for the research that went into the author’s dissertation Yiddish Diction in Singing and excerpts key chapters that explain how to pronounce the language in singing in an attempt to make this repertoire more accessible to performers.

A Literature Review of Korean Classical Singers’ Voices

A Literature Review of Korean Classical Singers’ Voices

Adaptation and Validation of the Kannada Version of the Singing Voice Handicap Index

The present study aimed to adapt and validate the Singing Voice Handicap Index (SVHI) into Kannada language using standard procedures. This is a cross-sectional study. The original English version of SVHI was translated into Kannada. It was administered on 106 Indian classical singers, of whom 22 complained of voice problems. Its internal consistency was determined using Cronbach's alpha coefficient (α), test-retest reliability using Pearson's product moment correlation and paired t test, and the difference in mean scores by independent sample t test. The results revealed that the Kannada SVHI exhibited an excellent internal consistency (α = 0.96) with a high item-to-total correlation. Further, excellent test-retest reliability (r = 0.99) and significant differences in SVHI scores were also obtained by singers with and without a voice problem (t = 12.93, df = 104, P = 0.005). The Kannada SVHI is a valid and reliable tool for self-reported assessment of singers with voice problems. It will provide a valuable insight into the singing-related voice problems as perceived by the singers themselves.

Voice Habits and Behaviors: Voice Care Among Flamenco Singers

The purpose of this study is to analyze the vocal behavior of flamenco singers, as compared with classical music singers, to establish a differential vocal profile of voice habits and behaviors in flamenco music. Bibliographic review was conducted, and the Singer's Vocal Habits Questionnaire, an experimental tool designed by the authors to gather data regarding hygiene behavior, drinking and smoking habits, type of practice, voice care, and symptomatology perceived in both the singing and the speaking voice, was administered. We interviewed 94 singers, divided into two groups: the flamenco experimental group (FEG, n = 48) and the classical control group (CCG, n = 46). Frequency analysis, a Likert scale, and discriminant and exploratory factor analysis were used to obtain a differential profile for each group. The FEG scored higher than the CCG in speaking voice symptomatology. The FEG scored significantly higher than the CCG in use of "inadequate vocal technique" when singing. Regarding voice habits, the FEG scored higher in "lack of practice and warm-up" and "environmental habits." A total of 92.6% of the subjects classified themselves correctly in each group. The Singer's Vocal Habits Questionnaire has proven effective in differentiating flamenco and classical singers. Flamenco singers are exposed to numerous vocal risk factors that make them more prone to vocal fatigue, mucosa dehydration, phonotrauma, and muscle stiffness than classical singers. Further research is needed in voice training in flamenco music, as a means to strengthen the voice and enable it to meet the requirements of this musical genre.

The influence of vocal fold mass lesions on the passaggio region of professional singers.

In professional classical singing, an even voice quality throughout the entire singing voice range is essential. Transitions between vocal registers (passaggio) are the technically most challenging aspects in classical singing. It is hypothesized that they are most affected by vocal fold mass lesions (VFML). Cohort study. In this study, the effect of VFML on vocal fold vibration in the passaggio regions was analyzed in four female and three male singers suffering from organic dysphonia. The singers were asked to sing an ascending glissando through the passaggio regions, before and after treatment. The vocal fold vibration was documented with transnasal endoscopic high-speed imaging recordings at 20,000 frames per second, supplemented by synchronized acoustic and electroglottographic recordings. Major irregularities were found in the passaggio region of four singers before treatment, whereas the respective phonations below the passaggio were almost regular. In two female singers only the upper, but not the lower passaggio was affected. In all four of these participants, the passaggio region was more regular after treatment. In the remaining three participants, the VFML showed no effect on the passaggio region. However, the singers' ability to reach higher pitches was impaired, but was resolved after treatment. The data in this case study strongly suggest that the passaggio region could be affected by VFML, even if phonation outside the passaggio regions is unimpaired. When planning surgical procedures for professional singers, clinical examination protocols should therefore include phonatory tests across the passaggio regions. 4 Laryngoscope, 127:1392-1401, 2017.