Vocal Performance Research Articles

Self-management of stage fright by vocal music performers: which techniques are the most effective?

Self-management of stage fright by vocal music performers: which techniques are the most effective?

The role of innovative musical education in the development of social skills in children and adolescents

This article aims to investigate the significance of innovative musical education in fostering social skills among children and adolescents. To achieve this objective, the authors devised teaching approaches centered on the development of social skills through vocal training, utilizing modern technologies such as Minute Voice WarmUp and Swiftscales. The curriculum was designed to facilitate the formation of articulatory approaches to vocal singing, the enhancement of technical skills in vocal performance, the cultivation of emotional expression in execution, and the establishment of dual-voice rendition. Findings revealed that emotional expression in singing (0.491) and articulation (0.483) played pivotal roles in developing social skills, along with dual-voice rendition (0.207), influencing the freedom and confidence in execution. Moreover, the study results demonstrated that among the acquired social skills in children and adolescents, presenting vocal capabilities effectively (1.96) stood out prominently, enabling individuals to express their opinions in the interpretation of melodies. Additionally, students developed voice control skills (1.83), closely associated with the precision of word pronunciation and the conveyance of inherent intonation. The practical significance of this work lies in the potential for shaping social skills through vocal singing, guided by the utilization of digital applications such as Minute Voice WarmUp and Swiftscales.

Fusion and innovation: Exploring the application and effects of the Italian Bel Canto technique in enhancing the expressiveness of Chinese national vocal performance

In exploring the teaching and performance arts of integrating the Chinese national vocal techniques with the Western Bel Canto, existing research has made significant progress but still there are limited studies available. This study explores the integration of the Italian Bel Canto techniques with the Chinese national vocal music to enhance the Chinese national vocalist performance. By systematically reviewing the literature and analyzing teaching practices, this paper examines both vocal techniques' fundamental characteristic like breath control, emotional expression, and resonance, and their application in enhancing the expressiveness of the Chinese national vocal performance. The research findings indicate that the breath control and resonance techniques of Bel Canto significantly enhance vocalists’ sound quality and emotional expression, while the Chinese national vocal music provides unique emotional conveyance and tonal flavors. This paper aims to provide new perspectives and methodologies for cross-cultural exchange and development in vocal arts. The study emphasizes that the integration of the Italian Bel Canto techniques with the Chinese national vocal music is of great value and significance for promoting the development of vocal arts and innovating vocal teaching. By integrating the Italian Bel Canto technique into the Chinese national vocal performance, we can augment the expressive capabilities of the Chinese vocalists, offering them fresh tools and approaches to enhance their artistry while preserving the distinctiveness of the Chinese vocal traditions. Future research should continue to explore theoretical and practical methods in this field to promote the prosperity of vocal arts and make greater contributions to the exchange and integration of global music cultures.

The Performance of Italia Chamber Vocal Music

This Article aimed to study this paper aims to analyze the impact of professional skills involved in singing on performers by studying the environment, conditions, and historical development when performing Italian chamber vocal music works, clarifying the skills and knowledge that performers need to master. This study will delve into the diversity of Italian chamber vocal music works and extract their unique values and characteristics. Through a mixed research method combining qualitative and quantitative research, this study helps researchers better understand the characteristics and musical value of Italian chamber vocal music and provides methodological guidance for other researchers. The sample was two parts: one part consists of 110 teachers and students specializing in chamber vocal music at Italian music and other part is 200 amateurs with a strong interest in Italian chamber vocal music in society academies. They was selected by learn the art of Italian chamber vocal music performance through educational activities. The instrument for collecting data was by questionnaire Format. Analysis data by Descriptive statistics and Content Analysis. The research results were found as follows: 1.The Italian chamber vocal music has grown over time, with evolving techniques, styles, and cultural traits enriching its legacy. 2.In the 21st century, globalization and technological advances easy to promote Italian chamber vocal music. New media technologies offer opportunities for its dissemination. 3.The talent pool for Italian chamber vocal music is aging and shrinking. As a specialized art form with a limited audience, it's challenging to attract new talent. Therefore, nurturing new vocal talents is crucial.

A Multiparametric Acoustic and Self-Perceptual Measure of Laryngeal Hydrations in Speech-Language Pathologists: A Preliminary Longitudinal Investigation

PurposeSpeech-language pathologists (SLPs) work with individuals with communication disorders. Their work can strain their voice, resulting in dysphonia, adversely affecting their career and quality of life. Laryngeal hydration can prevent vocal damage and improve vocal performance in SLPs. However, there is limited research on the effects of laryngeal hydration in SLPs using longitudinal studies. Hence, the present study aims to assess the longitudinal impact of laryngeal hydration in SLPs using multiparametric acoustic and self-perceptual measures. MethodThe research method lasted for six consecutive days, with each day lasting 2-3 hours for each participant. Ten SLPs, aged 18-30 years, were recruited. On alternate days, laryngeal hydration treatment (Systemic, surface, and combined hydration) was given while participants performed vocal loading tasks. Pre- and post-recordings of the Acoustic Voice Quality Index (AVQI) and its consistent parameters (CPPs, HNR, shimmer%, shimmer local, LTAS slope, LTAS Tilt) and self-perceptual measures [Perceived Phonatory Effort (PPE), Perceived Vocal Tiredness (PVT)] were taken. Kruskal-Wallis Test and the Wilcoxon Signed Rank Test were used to assess vocal changes in SLPs with laryngeal hydration. ResultsNo significant differences in overall AVQI scores were found between pre and post-tests for all types of laryngeal hydration treatment. However, there was a significant increase in CPPs and the LTAS slope for combined hydration and a decrease in HNR with an increase in shimmer local for systemic hydration in the post-test compared to the pre-test. Only systemic hydration in the post-test showed a rise in PPE and PVT compared to the pre-test, compared to surface and combined hydration. ConclusionVoice outcome measures of the present study demonstrated the immediate beneficial effects of surface hydration and combined hydration in SLPs by preserving voice quality during vocal loading. Systemic hydration had less of an immediate impact on voice quality. This study suggests empirical evidence for laryngeal hydration, which can enhance vocal performance and preserve voice quality in SLPs.

Millisecond-scale motor control precedes sensorimotor learning in Bengalese finches.

A key goal of the nervous system in young animals is to learn motor skills. Songbirds learn to sing as juveniles, providing a unique opportunity to identify the neural correlates of skill acquisition. Prior studies have shown that spike rate variability decreases during song acquisition, suggesting a transition from rate-based neural control to the millisecond-precise motor codes known to underlie adult vocal performance. By quantifying how the ensemble of spike patterns fired by cortical neurons (the "neural vocabulary") and the relationship between spike patterns and song acoustics (the "neural code") change during song acquisition, we quantified how vocal control changes across learning in juvenile Bengalese finches. We found that despite the expected drop in rate variability (a learning-related change in spike vocabulary), the precision of the neural code in the youngest singers is the same as in adults, with 1-2 millisecond variations in spike timing transduced into quantifiably different behaviors. In contrast, fluctuations of firing rates on longer timescales fail to affect the motor output. The consistent presence of millisecond-scale motor coding during changing levels of spike rate and behavioral variability supports the view that variability early in learning stems from deliberate motor exploration rather than imprecise motor control.

Merana Shanti: A Vocal Music Composition | Merana Shanti: Sebuah Komposisi Musik Vokal

The musical work "Merana Shanti" is an innovation in musical art combining Cak, Gongseng, and Punggalan Barong. The composer aims to create new works by exploring vocal work as the primary medium for creating passion and expanding the repertoire of vocal musical instruments. The focus is on developing vocal musical compositions that respect tradition and innovate. The method used in making this work follows the stages of the creative process outlined in the book "The Creative Process" by Brewster Ghiselin, which adopts Roger Session's creation method. The process is divided into three stages: Inspiration, Conception, and Execution. The results of the creation of this work include an interpretation of the meaning of "Merana" and "Shanti," as well as processing the elements of Cak, Punggal Barong, and Gongseng in a creative context. The use of vocals as the primary medium was chosen based on the need for exploration in the vocal realm, with the addition of Punggal Barong and Gongseng to create new nuances in vocal musical performance. In doing the work, the artist will arrange the verbal preparations carefully and in detail using patterns such as Cecandetan and Pupuh songs to produce a charming composition. "Merana Shanti" is a vocal musical composition based on the art of Cak Bona with the addition of Punggal Barong and Gongseng. The use of vocals as the primary medium was chosen to explore the possibilities of expression in this work. The artist will process the vocals with patterns such as Cecandetan and Pupuh songs, combining them with additional Punggal Barong and Gongseng instruments to create an innovative and stunning work.

Singing Techniques and Teaching Methods of Singer Liao Changyong in Chinese Opera Vocal Performance in a Sociological Context

Background and Aims: Grounded in the rich tradition of Chinese opera, the study aims to investigate the singing techniques and teaching methods of Singer Liao Changyong in Chinese Opera Vocal Performance in a Sociological Context. Materials and Methods: Utilizing a mixed-methods approach, including qualitative analysis, interviews, and sociocultural analysis, the research investigates how Singer Liao Changyong navigates the dynamic landscape of Chinese opera vocal performance, particularly in terms of technical proficiency, emotional expression, and cultural resonance, integration of Bel canto singing traditions with Chinese opera. Results: Through a comprehensive examination of Liao Changyong's journey from rural roots to international acclaim, the study uncovers valuable insights into the sociological dimensions of opera reflecting human experiences and societal dynamics. The findings contribute to theoretical discourse in music education, performance studies, and sociological studies on music and culture, emphasizing the importance of cultural preservation, innovation, and cross-cultural dialogue in the realm of vocal performance. Conclusion: The study explores the intricate relationship between individual artistry and sociocultural influences in Chinese opera vocal performance, emphasizing the importance of incorporating cultural nuances, emotional expression, and technical mastery in vocal education and performance, offering practical guidance for educators and performers.

Benefits of Learning Vocal Music with a Systematic Strategy

Abstract: There are many possible approaches to learning a song, some of which may involve multi-tasking across musical elements, despite research showing that multi-tasking is ineffective. This study compared singer-chosen song learning strategies with a systematic approach. The results showed that the systematic approach resulted in statistically significant improvement in accuracy across words, rhythms, and notes. Further, singers who demonstrated vocal quality changes with their personal approach, showed no evidence of vocal deterioration with the systematic approach. These findings suggest that a systematic approach to vocal music learning enhances both accuracy and efficiency, critical components of vocal performance.

The Tradition of Motayok Traditional Ceremonies in Cultural Heritage Management

The traditional celebrations of Indonesia exhibit a wide range of variations, reflecting the diverse ethnic groups present in the country. One such custom is the practice of Motayok traditional rites. The Mentayok traditional ritual in cultural heritage management is rooted in the belief in supernatural forces that are believed to have the power to heal diseases and safeguard the tribe from different plagues. The ceremony follows a ritualistic musical dance, accompanied by singing, that induces a trance-like state in the dancer, allowing them to invoke spirits. This ceremony has been practiced since the 1600s. The Mokokapoi is responsible for summoning spirits while also serving as the guide during the ceremony. Typically, Mokokapoi is the spouse of the lady selected to be possessed. Totenden, as a mediator and supporter of the ritual, will join Bolian in singing the Bandit (song verses). Motayok's vocal performance and choreography will be enhanced by the rhythmic resonance of gongs and the skillful manipulation of dreadlocks by Mototobog. The Motayok traditional ceremony is seen as a form of double god or shirk. Presently, the Motayok traditional ceremony is exclusively observed in Bilalang Bersatu Village and Tudu Aog Village. There should be no necessity for the eradication of this heritage. Motayok, traditionally perceived as a mystical rite dedicated to deity veneration, is, in fact, a variant of psychotherapeutic intervention.

Romances by Alexei Stârcea on the lyrics of Anatol Gujel: imaginary structure, musical language, interpretative tasks

Romances of Alexei Stârcea written on the lyrics of Anatol Gujel, are analyzed from the point of view of poetic content, the interaction of the music with the literary text, musical language, and vocal performance. The theme of the romances Noaptea pe lac, Iluzii and Te aștept is associated with love lyrics, which in the poetry of A. Gujel is closely related to images of nature. The romance Struguri de Moldova glorifies the beauty of the native land. All the four romances were written by A. Stârcea in the second period of his activity (1957–1968) and reflect some features specific to this decade, such as the interest in the work of Moldovan poets, the in-depth development of national themes, the reflection of folklore elements in the musical language, the emergence of a genre symbiosis of romances and songs, the further researches in the field of vocal expressiveness, the dialogic interaction between the vocal and piano parts.

The aria Ma-ntorc la tine iar from the musical Adio, Chiustenge! by Dumitru Lupu: musical language, architectonics, specifics of vocal performance

The article is dedicated to a fragment from the musical Adio, Chiustenge!, composed in 2016 by the Romanian composer Dumitru Lupu, namely Ma-ntorc la tine iar. The stylistic and genre methods, structural aspects of this aria, the vocal techniques, interpretative challenges, and recommendations for overcoming them are highlighted.

The Artistic Characteristics and Singing Analysis of the Ancient Poetry Art Song Ru Meng Ling

Art songs based on classical Chinese poetry began to emerge in the 1920s and have since become a common and significant genre in contemporary Chinese vocal music. This genre uniquely combines Western compositional techniques with ancient Chinese poetry, resulting in songs that feature piano accompaniments and melodies that align with the emotional trajectory of the lyrics while also embedding the deep cultural heritage of China. These songs embody the enduring beauty of Chinese culture, with long, melodious tunes and a timeless ancient charm. Whether in the process of tracing their origins, studying them, or performing them, people are invariably moved by their cultural significance, thereby enhancing cultural identity and confidence. This genre adds a vibrant hue to the development of modern music. This paper focuses on Li Qingzhao's poem "Like a Dream: Often Remembering the Sunset at the Creek Pavilion" and the art song "Like a Dream" composed by Wang Chao. Using literature research, score analysis, and inductive methods, the paper explores and reflects on the song from two perspectives: its artistic characteristics and vocal performance analysis.

An Evaluation of the Vocal Work "I Love You, China" in Dual Contexts

Nowadays, most vocal performers still focus on the pursuit of vocal texture and study vocal music singularly. This paper will analyse the way of presentation, context and inner vision of the work according to the vocal work "I Love You, China", and expound the truth of the work's existence, so as to improve the performer's artistic cultivation and contribute to the development of the cause of vocal performance.

The specificity of the formation of style dominants in vocal performance (based on N. Stutzmann’s creativity)

Statement of the problem. In the article, using the example of the famous representative of vocal and conducting art, N. Schutzmann, the concept of “stylistic dominant” is tested as a parameter that determines the specificity of the performance statement (or a complex of musical and speech resources) and the axiological aspect of the interpreter’s musical thinking. N. Stutzmann has the rarest female voice with an expressive chest register – contralto. An analysis of the repertoire of contemporary contralto singers shows that, as a rule, they mostly gravitate towards the performance of baroque works. The proposed study analyzes how the specificity of the voice influenced the formation of stylistic dominants in N. Stutzmann’s work. Objectives, methods, and novelty of the research. The purpose of the study is to identify the factors that determine the specifics of the formation of style dominants in vocal performance. The novelty of the study is that it introduces N. Stutzmann’s performance work into the scientific circulation of domestic musicology. A complex of scientific approaches is applied, among them systemic, aimed at understanding musical phenomena in their interrelationships; stylistic, which allows you to consider the specifics of an individual’s artistic expression; biographical to determine the factors that influenced the formation of the style of the artist’s musical creativity, as well as one of the approaches of cognitive musicology, aimed at studying the image of Human as a creative force. Recent research and publications. The work used studies focused on the history of vocal art and criteria for classifying singing voices, such as the collective monograph «The Human Voice and Vocal Work with It» (Stasko, Shuliar, Slyvotskyi, et al., 2010); a number of scientific articles (Krechko, & Riazhko 2022); Jones, n.d.; Avramenko, 2020; etc.). Particular should be mentioned L. Derkach’s article «Synergy in the Performing Process», where we find the concept of attitude, which is understood as «a holistic state of the performing musician’s psyche, which depends on professional motivation, goals, tasks and conditions for activity» (Derkach, 2014: 714). Results and conclusion. It has been established that the physiological characteristics of a vocalist determine the specifics of his musical and speech resources, in fact, his style, as well as his repertoire policy. It is emphasized that in vocal art one of the determining factors of the formation of a “stylistic dominant” is the timbre of the voice. At the same time, such dominants may not become decisive, but can be adjusted or subordinated to others. Thus, an analysis of N. Stutzmann’s repertoire suggests that she prefers the works of romantic composers, which is contrary to the general trends in the interpretation of contralto timbre in contemporary opera practice. It is noted that the artist’s romantic worldview was formed under the influence of her family, namely the musical activity of her mother, a singer. At the same time, it is impossible to deny the fact that the specificity of N. Stutzmann’s voice determined her interest in the Baroque repertoire, both in her vocal and conducting work. Thus, the formation of the style dominants (baroque and romantic) of the creativity of the outstanding singer and conductor N. Stutzmann is determined by the influence of two factors: internal – the specificity of her voice (contralto) and external – the performing creativity of her parents. The interaction of these style dominants influences the choice of the artist’s repertoire in various fields of performing arts.

“Small machines of words”: poetics, phonetics, and mechanisms of narrative realism in late twentieth-century Hip Hop

Abstract This work begins with an exploration of various analytical techniques for discerning and describing details of vocal performance in the song “Episodes,” from Philadelphia Hip Hop group The Roots’ 1996 album, Illadelph Halflife. I pair this musical analysis with textual exegesis drawing on narratology and speech act theory. Reconciling the two analytical approaches, I conclude by suggesting a refreshed notion of affective realism in late twentieth-century Hip Hop, characterized by consistency between poetic, phonetic, illocutionary, and performative dynamics in rap verse.

Persistent vocal learning in an aging open-ended learner reflected in neural FoxP2 expression

BackgroundMost vocal learning species exhibit an early critical period during which their vocal control neural circuitry facilitates the acquisition of new vocalizations. Some taxa, most notably humans and parrots, retain some degree of neurobehavioral plasticity throughout adulthood, but both the extent of this plasticity and the neurogenetic mechanisms underlying it remain unclear. Differential expression of the transcription factor FoxP2 in both songbird and parrot vocal control nuclei has been identified previously as a key pattern facilitating vocal learning. We hypothesize that the resilience of vocal learning to cognitive decline in open-ended learners will be reflected in an absence of age-related changes in neural FoxP2 expression. We tested this hypothesis in the budgerigar (Melopsittacus undulatus), a small gregarious parrot in which adults converge on shared call types in response to shifts in group membership. We formed novel flocks of 4 previously unfamiliar males belonging to the same age class, either “young adult” (6 mo − 1 year) or “older adult” (≥ 3 year), and then collected audio-recordings over a 20-day learning period to assess vocal learning ability. Following behavioral recording, immunohistochemistry was performed on collected neural tissue to measure FoxP2 protein expression in a parrot vocal learning center, the magnocellular nucleus of the medial striatum (MMSt), and its adjacent striatum.ResultsAlthough older adults show lower vocal diversity (i.e. repertoire size) and higher absolute levels of FoxP2 in the MMSt than young adults, we find similarly persistent downregulation of FoxP2 and equivalent vocal plasticity and vocal convergence in the two age cohorts. No relationship between individual variation in vocal learning measures and FoxP2 expression was detected.ConclusionsWe find neural evidence to support persistent vocal learning in the budgerigar, suggesting resilience to aging in the open-ended learning program of this species. The lack of a significant relationship between FoxP2 expression and individual variability in vocal learning performance suggests that other neurogenetic mechanisms could also regulate this complex behavior.

Al-Akhţā’ Aş-Şautiyyah Fī Qirāati Al-Qurān Ladā Ţullābi Aş-Şaf Aś-Śāmin Fī Madrasati Al-Mutawassiţah Li Muassasati Tarbiyyati Aş-Şibyān Bi Sukābūmī

This research aims to identify the forms of phonological errors in reading the Qur’an among eighth-grade students in the junior hight school of the Boys’ at PUI YATSHI in Sukabumi. I used The researcher provides a qualitative introduction to the descriptive case study approach. The results of the research showed that there are three common types of phonetic errors, which are letter transposition, negligence in performing the adjective of the letter, and errors in the vowel. The factors that lead to these errors are divided into two parts: For internal factors and external factors. The internal factors are: the students’ unfamiliarity, the uniqueness of Arabic with some letters, the students’ leniency in vocal performance, their natural altruism, pedantry or exaggeration in eloquence, pronunciation defects, and the habit of reading incorrectly from the beginning of learning the Qur’an. The external factors are: Lack of a lesson in teaching the Holy Qur’an per week, lack of reading the Qur’an and training in correct reading, and lack of interest on the part of the family.

The process of transformation, styles and methods of vocal pop performance in Ukraine at the end of the XX — beginning of the XXI century

The process of transformation, styles and methods of vocal pop performance in Ukraine at the end of the XX — beginning of the XXI century

Assessing the Effectiveness of Voice Therapy Techniques in Treating Dysphonia: An Otolaryngological Review.

Dysphonia is a prevalent condition that can impact individuals across all age groups. It occurs when normal voice quality is altered, caused by structural and/or functional issues. Evaluation and assessment from clinicians are warranted if dysphonia persists for more than four weeks and/or is coupled with risk factors or other concerning clinical manifestations. Additionally, voice disorders can increase the risk of depression and anxiety disorders, as well as raise stress levels and lower self-reported health indicators. Dysphonia can have a substantial influence on interpersonal interactions and lower overall quality of life since effective communication relies significantly on spoken language. Hence, managing dysphonia is essential for enhancing communication abilities, improving quality of life, maintaining vocational functioning, promoting psychological well-being, and addressing underlying health concerns. Speech and language therapy, medical management, surgery, or a combination of the aforementioned are all possible treatments for dysphonia. Speech and language therapy is often the first-line treatment option for dysphonia patients who do not meet the criteria for surgical intervention. Voice therapy is often beneficial and remains the first line of treatment, even when patients approach with benign vocal fold nodules. A well-designed voice therapy program improves both the quality of life and vocal performance. The majority of the studies in the existing literature advocate for and report beneficial outcomes associated with voice therapy; however, more research is needed to provide evidence-based findings to guide clinical practice and achieve optimal outcomes. This comprehensive review elaborately highlights the utilization and efficacy of various voice therapeutic modalities utilized for the management of dysphonia in light of current literature.