Professional Classical Singers Research Articles

Vocal risk mapping in classical singers: an analysis of the self-perception of voice quality, vocal fatigue, and singing voice handicap.

To map the vocal risk in professional classical singers, analyzing their self-assessment of voice and self-perception of singing voice handicap and vocal fatigue. The study sample comprised of 52 professional classical choir singers, aged 31 to 72 years. They answered an online questionnaire in Google Forms, addressing their characterization, self-assessment of voice, the Voice Handicap Index-10 (VHI-10), Classical Singing Handicap Index (CSHI), and Vocal Fatigue Index (VFI). The mean self-assessment of voice was between "Good" and "Very good" (1.2). The mean total VHI-10 score was 1.35, which is below the cutoff. The mean total CSHI score was 10.04. The mean total VFI score was 10.83, near the cutoff value. Classical singers who use their voice to give examples to students in their classes had higher scores in VHI-10 (p = 0.013), VFI voice restriction (p = 0.011), and VFI total score (p = 0.015). Besides, classical singers who already visited a Speech-Language Pathologist for voice problems had higher scores in VFI voice restriction (p = 0.040) and VFI recovery with voice rest (p = 0.019), in addition to correlations between instrument scores. Professional classical singers did not have voice handicaps. However, their self-perception of vocal fatigue was more present when the singing voice was used, such as giving examples with their own voice in class. Having had voice problems and visited a Speech-Language Pathologist in the past led to a greater perception of vocal recovery with rest.

Poteškoće s pjevačkim glasom u hrvatskih amaterskih i profesionalnih klasičnih pjevača

The aim of the study was to describe singing voice handicap in the Croatian professional and amateur classical singers. This cross-sectional study included 69 professionals (median age 47.5 interquartile range 42.0-55.8 years) and 41 amateurs (median age 30.0, interquartile range 25.0-41.0 years). Participants completed the Croatian version of the Singing Voice Handicap Index (SVHI-36), self-rated the severity of singing voice problem on another scale and answered questions about their age, gender, voice type and self-perceived average number of singing hours per week in the past three months. Cronbach’s alpha of the Croatian version of the SVHI was 0.97 in amateurs, and 0.98 in professionals. SVHI scores significantly differed across the categories of self-perceived singing voice problem in amateurs (P=0.001) and professionals (P<0.001). Median SVHI score was 16.7 (interquartile range 7.6-29.2) in amateurs and 13.8 (interquartile range 5.9-30.2) in professionals. Higher SVHI score was associated with more severe self-perceived singing voice problem in amateurs (ρ=0.63, P<0.001) and professionals (ρ=0.68, P<0.001). Amateurs and professionals did not significantly differ in the self-perceived singing voice problem (P=0.698), nor the SVHI score (P=0.538). Compared to the professionals, amateurs more often reported voice breaks (P=0.009) and the trouble with loud singing (P=0.020), and were less concerned about losing money because of their singing problems (P=0.022). Croatian classical singers mostly had mild singing voice problems. Voice difficulties in amateurs indicate the importance of learning vocal technique. It is necessary to balance work commitments with vocal rest to preserve workability in professional classical singers.

Are source-filter interactions detectable in classical singing during vowel glides?

In recent studies, it has been assumed that vocal tract formants (Fn) and the voice source could interact. However, there are only few studies analyzing this assumption in vivo. Here, the vowel transition /i/-/a/-/u/-/i/ of 12 professional classical singers (6 females, 6 males) when phonating on the pitch D4 [fundamental frequency (ƒo) ca. 294 Hz] were analyzed using transnasal high speed videoendoscopy (20.000 fps), electroglottography (EGG), and audio recordings. Fn data were calculated using a cepstral method. Source-filter interaction candidates (SFICs) were determined by (a) algorithmic detection of major intersections of Fn/nƒo and (b) perceptual assessment of the EGG signal. Although the open quotient showed some increase for the /i-a/ and /u-i/ transitions, there were no clear effects at the expected Fn/nƒo intersections. In contrast, ƒo adjustments and changes in the phonovibrogram occurred at perceptually derived SFICs, suggesting level-two interactions. In some cases, these were constituted by intersections between higher nƒo and Fn. The presented data partially corroborates that vowel transitions may result in level-two interactions also in professional singers. However, the lack of systematically detectable effects suggests either the absence of a strong interaction or existence of confounding factors, which may potentially counterbalance the level-two-interactions.

Breathing and Singing: Objective Characterization of Breathing Patterns in Classical Singers.

Singing involves distinct respiratory kinematics (i.e. movements of rib cage and abdomen) to quiet breathing because of different demands on the respiratory system. Professional classical singers often advocate for the advantages of an active control of the abdomen on singing performance. This is presumed to prevent shortening of the diaphragm, elevate the rib cage, and thus promote efficient generation of subglottal pressure during phonation. However, few studies have investigated these patterns quantitatively and inter-subject variability has hindered the identification of stereotypical patterns of respiratory kinematics. Here, seven professional classical singers and four untrained individuals were assessed during quiet breathing, and when singing both a standard song and a piece of choice. Several parameters were extracted from respiratory kinematics and airflow, and principal component analysis was used to identify typical patterns of respiratory kinematics. No group differences were observed during quiet breathing. During singing, both groups adapted to rhythmical constraints with decreased time of inspiration and increased peak airflow. In contrast to untrained individuals, classical singers used greater percentage of abdominal contribution to lung volume during singing and greater asynchrony between movements of rib cage and abdomen. Classical singers substantially altered the coordination of rib cage and abdomen during singing from that used for quiet breathing. Despite variations between participants, principal component analysis revealed consistent pre-phonatory inward movements of the abdominal wall during singing. This contrasted with untrained individuals, who demonstrated synchronous respiratory movements during all tasks. The inward abdominal movements observed in classical singers elevates intra-abdominal pressure and may increase the length and the pressure-generating capacity of rib cage expiratory muscles for potential improvements in voice quality.

Voxel-based morphometry in opera singers: Increased gray-matter volume in right somatosensory and auditory cortices

In contrast to instrumental musicians, professional singers do not train on a specific instrument but perfect a motor system that has already been extensively trained during speech motor development. Previous functional imaging studies suggest that experience with singing is associated with enhanced somatosensory-based vocal motor control. However, experience-dependent structural plasticity in vocal musicians has rarely been studied. We investigated voxel-based morphometry (VBM) in 27 professional classical singers and compared gray matter volume in regions of the “singing-network” to an age-matched group of 28 healthy volunteers with no special singing experience. We found right hemispheric volume increases in professional singers in ventral primary somatosensory cortex (larynx S1) and adjacent rostral supramarginal gyrus (BA40), as well as in secondary somatosensory (S2) and primary auditory cortices (A1). Moreover, we found that earlier commencement with vocal training correlated with increased gray-matter volume in S1. However, in contrast to studies with instrumental musicians, this correlation only emerged in singers who began their formal training after the age of 14years, when speech motor development has reached its first plateau. Structural data thus confirm and extend previous functional reports suggesting a pivotal role of somatosensation in vocal motor control with increased experience in singing. Results furthermore indicate a sensitive period for developing additional vocal skills after speech motor coordination has matured.

Voice Teachers’ Strategies to Overcome Performance Anxiety

Increasing competition among musicians on the contemporary scene implies additional requirements for them in terms of versatility and competitiveness. Performance anxiety usually manifests itself in negative changes in mental and physical sense of self before a performance. In recent years increasingly more attention has been paid to problems influencing musicians’ performance. Performance anxiety is undoubtedly one of the negative factors each performer has to face to a greater or lesser degree. As a rule, performers are sensitive and emotional in nature and it is not likely that the audience would enjoy watching a dull or completely rational performance. The purpose of this study is to learn how professional classical singers and voice teachers cope with performance anxiety. We are interested in how they maintain well-being and mental balance needed for a successful performance, which pre-performance anxiety suppressing activities they find most efficient and which ones they have suggested to their students. The study was carried out through semi-structured interviews with 12 recognised classical singers and vocal pedagogues, who were working or had worked as soloists at Estonian National Opera, or as oratorio or chamber singers. To allow organisation, categorisation and analysis of the received information, the texts were processed with the qualitative research software Nvivo 7. Coping successfully with performances all singers had developed a daily schedule which had often become their lifestyle to which they did not attach special importance on a daily basis. Support of the family was considered important and it was seen as natural that family members follow and respect the singer’s rhythm of life. All singers stressed that most difficult for them was to maintain vocal health throughout the season and emotional balance in stressful situations.

Vocal tract configurations in yodelling—prospective comparison of two Swiss yodeller and two non-yodeller subjects

Yodelling consists of changes in pitch, presumably produced in different vocal registers. It is often assumed that vocal tract configuration is important to vocal registers and thus also to yodelling. We analysed vocal tract configuration in yodelling with dynamic real-time MRI (8 frames/second) in two (female and male) Swiss yodellers and two (female and male) professional classical singers. MR profiles showed clearly different vocal tract shapes for lower (vowel //) and upper pitch (vowel /u/) for both the yodellers and the singers. These differences were similar for yodellers but differed between both classical singers. When switching to the upper pitch the yodellers decreased their lip opening with nearly constant jaw opening, elevated the tongue dorsum, and widened the pharynx.

Singers’ preferences for acoustical characteristics of performing spaces.

Classical singers, whose instruments’ close proximity to their ears makes them unique among musicians, require particular attention from acousticians addressing musician support in performance space design. This study expands upon the few previous analyses of acoustics for singers by exploring what is most basic about solo voice self‐perception in halls used for concerts and recitals. A questionnaire was given to a number of professional classical singers and their numerical and narrative responses were analyzed. Five concert halls were measured from the singer’s perspective on stage, utilizing a head and torso simulator with a mouth speaker to mimic the proximity of a singer’s voice and ears. The resulting impulse responses were utilized in preference tests featuring real‐time binaural auralization of singers’ vocalizations. The correlations between the subjective results, existing objective parameters, and physical hall characteristics were explored. A strong connection was found between increasing pref...

Vocal tract and register changes analysed by real-time MRI in male professional singers—a pilot study

Changes of vocal tract shape accompanying changes of vocal register and pitch in singing have remained an unclear field. Dynamic real-time magnetic resonance imaging (MRI) was applied to two professional classical singers (a tenor and a baritone) in this pilot study. The singers sang ascending scales from B3 to G#4 on the vowel /a/, keeping the modal register throughout or shifting to falsetto register for the highest pitches. The results show that these singers made few and minor modifications of vocal tract shape when they changed from modal to falsetto and some clear modifications when they kept the register. In this case the baritone increased his tongue dorsum height, widened his jaw opening, and decreased his jaw protrusion, while the tenor merely lifted his uvula. The method used seems promising and should be applied to a greater number of singer subjects in the future.

Overt and imagined singing of an Italian aria

Activation maps of 16 professional classical singers were evaluated during overt singing and imagined singing of an Italian aria utilizing a sparse sampling functional magnetic imaging (fMRI) technique. Overt singing involved bilateral primary and secondary sensorimotor and auditory cortices but also areas associated with speech and language production. Activation magnitude within the gyri of Heschl (A1) was comparable in both hemispheres. Subcortical motor areas (cerebellum, thalamus, medulla and basal ganglia) were active too. Areas associated with emotional processing showed slight (anterior cingulate cortex, anterior insula) activation. Cerebral activation sites during imagined singing were centered on fronto-parietal areas and involved primary and secondary sensorimotor areas in both hemispheres. Areas processing emotions showed intense activation (ACC and bilateral insula, hippocampus and anterior temporal poles, bilateral amygdala). Imagery showed no significant activation in A1. Overt minus imagined singing revealed increased activation in cortical (bilateral primary motor; M1) and subcortical (right cerebellar hemisphere, medulla) motor as well as in sensory areas (primary somatosensory cortex, bilateral A1). Imagined minus overt singing showed enhanced activity in the medial Brodmann's area 6, the ventrolateral and medial prefrontal cortex (PFC), the anterior cingulate cortex and the inferior parietal lobe. Additionally, Wernicke's area and Brocca's area and their homologues were increasingly active during imagery. We conclude that imagined and overt singing involves partly different brain systems in professional singers with more prefrontal and limbic activation and a larger network of higher order associative functions during imagery.

The treatment and results of voice therapy amongst professional classical singers with vocal fold nodules

In order to test the hypotheses that nonsurgical treatment and elimination of inappropriate use of the voice is sufficient for disappearance of vocal fold nodules (VN), 28 classical singers with these lesions were examined for a period of up to 24 years after establishing this diagnosis. Twenty vocally healthy female singers constituted the control group. Laryngoscopy, microlaryngoscopy, laryngostroboscopy and acoustic voice analyses were used to carry out this research. It was found that VN, having once occurred, tended to reoccur despite nonsurgical treatment and the elimination of incorrect singing. It was concluded that physiologically correct singing leads only to a temporary disappearance of soft nodules and does not promote the resolution of hard nodules.

Preliminary Findings on the Classical Singer’s Use of the Pectoralis Major Muscle

Objective: This study aims to further characterize the muscle activity that influences the posture and breathing utilized for classical singing. The activity in the pectoralis major (PC) muscle and the phasing of PC activity to sternocleidomastoideus (STM) activity and upper thorax (UTX) movement were investigated. Material and Methods: Seven professional classical singers (3 sopranos, 1 mezzo, 1 tenor and 2 baritones) and 8 advanced classical singing students (4 sopranos, 1 mezzo, 1 tenor and 2 baritones) participated. Electromyographic activity was recorded from the PC and STM muscles on the right side. UTX movement was traced with a strain gauge sensor placed around the upper thorax. Different arias, freely chosen by the singers from their professional repertoire, served as singing tasks. All subjects performed their task 3 times with variation in vocal loudness (normal, forte, piano). Results: It was observed that a majority of the singers activated the PC during inhalation and that >50% of the singers activated it during parts of phonation. In general, however, the activity of the PC was relatively low during phonation. Conclusion: This study shows that the PC, in idiosyncratic patterns, could be involved in the inspiratory effort recruited when positioning the UTX during inhalation and phonation.

‘Mixing’ the Registers: Glottal Source or Vocal Tract?

Electroglottograph and microphone signals are examined of scale passages crossing the boundary between chest and middle registers in the female singing voice. From a protocol executed by professional classical singers, the examples are selected to illustrate differing approaches to the chest-middle transition, as well as to illuminate varying theories on the female middle register, specifically the question of ‘mixing’ the primary registers, chest and falsetto. The results suggest that the skillful tuning of the resonances of the vocal tract contributes more toward the pedagogical goal of smoothing the register transition than does a presumed mixing of the registers at the glottal source.

Mesa di voce: An investigation of the symmetry of crescendo and decrescendo in singing

Messa di voce (to place the voice) is an often used exercise by professional classical singers. It is a crescendo followed by a decrescendo on a constant pitch and vowel. Difficulty is often encountered in maintaining constant voice quality (register) and a consistent and gradual loudness change, especially at high pitches. Six well-trained singers were studied, three males and three females. Measurements consisted of sound pressure level, electroglottography, oral airflow, subglottal pressure, lung volume change, and ribcage and abdomen movement. Results indicate that symmetry between crescendo and decrescendo portions is effected by variations in subglottal pressure and peak acoustic airflow, and to a lesser extent, by abdominal movement. Subjects also differed greatly in their soft–loud dynamic ranges. [Work supported by NIDCD, Grant No. P60 DC00976.]

Phonosurgery for singers

Phonosurgery for singers poses some delicate problems, particularly concerning surgical indications, surgical techniques, and postoperative follow-up. Our own experience includes 101 cases of adult singers operated upon over the last 15 years: 19 nonclassical singers (pop, rock, etc.); 54 nonprofessional classical singers (music teachers, choir leaders, choir members, and singing students); and 28 professional classical singers (operatic or oratorio). Our work brings out a point that is often missed: lesions found in singers are not all side effects of vocal strain, like nodules or polyps, but also include a large number of congenital lesions, particularly epidermoid cysts. Phonosurgery for singers poses some delicate problems, particularly concerning surgical indications, surgical techniques, and postoperative follow-up. Our own experience includes 101 cases of adult singers operated upon over the last 15 years: 19 nonclassical singers (pop, rock, etc.); 54 nonprofessional classical singers (music teachers, choir leaders, choir members, and singing students); and 28 professional classical singers (operatic or oratorio). Our work brings out a point that is often missed: lesions found in singers are not all side effects of vocal strain, like nodules or polyps, but also include a large number of congenital lesions, particularly epidermoid cysts.