Singing Voice Research Articles

Development and validation of the Singing Voice Function Self-Efficacy Scale (Singing-VoSES)

This investigation aimed at developing and validating a scale measuring perceived self-efficacy in singing with respect to voice function, the Singing Voice Function Self-Efficacy Scale ( Singing-VoSES). Voice experts validated an 18-item scale, subsequently administered online, targeting specifically professional and semi-professional female singers. These inclusion criteria were met by a total of 439 participants. Results of both exploratory and confirmatory factorial analysis suggest that Singing-VoSES is a valid scale, with items grouped into three self-efficacy dimensions: Higher Range and Transitions, Middle Range and Lower Range. Middle Range and Lower Range dimensions were both significantly higher than Higher Range and Transitions. Singing high notes and notes within transitional vocal ranges require a refined neuromotor control of the voice, and thus may be particularly challenging. Comparisons between pre and postmenopausal singers were made, as menopause has been associated with changes in voice function. Significantly lower self-efficacies for Higher Range and Transitions and Middle Range were found in post as compared to premenopausal singers. This result, together with the possible lack of coping strategies, may contribute to negative impacts on singers’ performances and, ultimately, lead to premature retirement from public performances. Thus, monitoring self-efficacy with respect to voice function seems relevant, particularly when assisting singers experiencing menopause-related voice difficulties.

Absolute pitch: neurophysiological evidence for early brain activity in prefrontal cortex.

Absolute pitch (AP) is the ability to rapidly label pitch without an external reference. The speed of AP labeling may be related to faster sensory processing. We compared time needed for auditory processing in AP musicians, non-AP musicians, and nonmusicians (NM) using high-density electroencephalographic recording. Participants responded to pure tones and sung voice. Stimuli evoked a negative deflection peaking at ~100ms (N1) post-stimulus onset, followed by a positive deflection peaking at ~200ms (P2). N1 latency was shortest in AP, intermediate in non-AP musicians, and longest in NM. Source analyses showed decreased auditory cortex and increased frontal cortex contributions to N1 for complex tones compared with pure tones. Compared with NM, AP musicians had weaker source currents in left auditory cortex but stronger currents in left inferior frontal gyrus (IFG) during N1, and stronger currents in left IFG during P2. Compared with non-AP musicians, AP musicians exhibited stronger source currents in right insula and left IFG during N1, and stronger currents in left IFG during P2. Non-AP musicians had stronger N1 currents in right auditory cortex than nonmusicians. Currents in left IFG and left auditory cortex were correlated to response times exclusively in AP. Findings suggest a left frontotemporal network supports rapid pitch labeling in AP.

Brünnhilde Bleeds: The Impact of Hormonal Changes on the Professional Dramatic Soprano

The dramatic soprano is not a beginner’s voice type. The late maturation of dramatic voices, both male and female, is a well-documented phenomenon and presents challenges for the dramatic singer that are not encountered by lighter voices or other musicians. The instrument of the dramatic soprano matures in her mid-thirties to mid-forties, and she can still be performing dramatic roles in her late 60s. It has also been well documented that during these ages, women’s bodies undergo vast hormonal changes related to fertility, pregnancy, perimenopause and menopause. Recent scholarship on the effects of female hormonal changes, in particular perimenopause and menopause, have mainly focused on the speaking voice or the singing voice of amateur and choral singers. However, the effects of hormonal changes on the professional female operatic singing voice are under researched. This essay reports the results of life history interviews with 13 professional female singers who have sung dramatic Wagnerian roles, particularly that of Brünnhilde, between the ages of 43 and 68. The embodied experience of these singers is that although hormonal changes related to ageing can affect the voice, these effects can be mitigated and addressed through technical training of the voice and physical training of the body, and for some singers, by hormone and alternative therapies. These interviews also reveal a range of concerns among professional singers about the implications of speaking out about the effects of hormonal changes on their voices. Critically, this points to why such experiences may have remained understudied.

Prevalence of Dysphonia in Metal Singers and the Impact of Vocal Education: A Subjective Analysis

On average, the prevalence of subjectively indicated dysphonia in singers is higher than in the general population. When using extreme vocal techniques supraglottic structures are involved to protect the vocal folds. Most of the metal singers learn this specific singing style autodidactically. Vocal training can have a positive effect on the voice and prevent voice problems. The aim of the study was to find out the prevalence of dysphonia in metal singers and the impact this has on the profession or the vocal education. The subjects had to fill out an online questionnaire including two validated and standardized questionnaires about the speaking and singing voice: The short version of the Voice Handicap Index (VHI 12) and the Singing Voice Handicap Index (SVHI). The prevalence of dysphonia in metal singers is 12.2%. 9 out of 74 participants showed an increased (S)VHI score. 6 of these participants learned singing autodidactically. No dysphonia was found in any singer who sings full-time or studied singing. The correlation between education or profession and dysphonia was statistically not significant. More women than men studied or took singing lessons. This difference was statistically significant. The prevalence of 12.2% in our study is quite low and contrary to our assumption. We can assume, that a vocal education for the metal singing style is useful but not mandatory and the number of persons with dysphonia through metal singing is low. A healthy vocal technique does not necessarily have to be the result of voice lessons.

Vocal92: Audio Dataset With a Cappella Solo Singing and Speech

Singer recognition plays a vital role in music information retrieval systems. Most songs in the singer recognition system are mixed audios of music and voice. In contrast, there is a lack of labeled a cappella solo singing data suitable for singer recognition. Text-independent singer recognition systems successfully encode audio features such as voice pitch, intensity, and timbre to achieve good performance. Most such systems are trained and evaluated using data from music with accompaniment. However, due to the influence of background music, the performance of the singer recognition model was limited. Contrarily, a powerful singer identification system can be trained and evaluated using a cappella solo singing voices with a clear and broad range of qualities. There needs to be labeled clear singing data suitable for singer recognition research. To address this issue, we present Vocal92, a multivariate a cappella solo singing and speech audio dataset spanning around 146.73 hours sourced from volunteers. Furthermore, we use two current state-of-the-art models to construct the singer recognition baseline system. In experiments, the singer recognition model developed by a cappella solo singing data performs well in both single-mode and cross-modal verification data, significantly improving related works. The dataset is accessible to everyone at https://pan.baidu.com/s/1Pn62DHfal2OOZ_5JqgGBdQ with jnz5 as the validation code. For non-commercial use, the dataset will be available free of charge at the IEEE DataPort (after acceptance).

MuSE-SVS: Multi-Singer Emotional Singing Voice Synthesizer That Controls Emotional Intensity

MuSE-SVS: Multi-Singer Emotional Singing Voice Synthesizer That Controls Emotional Intensity

Aesthetic principles of interpretation of early arias in the vocalist’s concert repertoire: air de cour

Aesthetic principles of interpretation of early arias in the vocalist’s concert repertoire: air de cour

Effectiveness of using the resonant vocal techniques in singing voice disorders

Singing voice disorders are an important segment of vocal pathology, targeting a niche of professional and amateur singers of all musical genres. The aim of this study is to evaluate the effectiveness of using the principles of vocal hygiene and the eclectic vocal therapy model by combining three resonant vocal techniques: humming, the method of disguised yawning and the chewing technique, in the corrective-recuperative vocal therapy program. The positive effects of the vocal therapy used in all five case studies were observed. If the initial assessment relates to altered vocal parameters, pain in the laryngeal muscles and a negative influence of vocal problems on quality of life, the final assessment found normalization of vocal parameters, decreased pain and improved the quality of life.

‘Take it away, sure ’tis your own’: Negotiating authoritative voice in Irish traditional song performance through autoethnography

This article discusses the authoritative voice in traditional Irish singing, examining voice in negotiation with prevailing and conflicting ideologies of practice in this context. Opening with a discussion on vocal identity and vocality in traditional Irish singing, autoethnography is used to present and critically examine an individual process of learning and voicing a macaronic song from the Irish tradition. Findings contribute to further understand the social, participatory and presentational dimensions of Irish traditional song as it is learned, performed and transmitted. Issues of vocal enculturation, identity and construction are negotiated as authoritative voice and stylistic efficacy are conceptualized in voicing Irish traditional song.

EASE-NL: Cross-Cultural Adaptation and Validation of the Dutch Version of the Evaluation of Ability to Sing Easily

The Evaluation of the Ability to Sing Easily (EASE) is a self-rating tool that is used to assess the singer's perceptions of the current singing voice status. The purpose of this study was to develop and validate a Dutch translation of the EASE. The original version of the EASE was translated and adapted to Dutch according to the recommendations of the Quality of Life Special Interest Group - Translation and Cultural Adaptation group. Subsequently, the questionnaire was individually completed by 70 singers with a mean age of 35.2 years before and after a singing activity, together with a demographic questionnaire and the Dutch Singing Voice Handicap Index 10 (SVHI-10-NL). Two groups of singers were included between September and June 2020: a group of healthy singers (n=54) and a group of dysphonic singers (n=16). Internal and external consistency, construct and criterion validity, test-retest and split-half reliability were calculated using Cronbach's alpha coefficients, Student's t-test, the paired Wilcoxon tests and Pearson correlation coefficients. Furthermore, the impact of sex and age and the diagnostic accuracy of the EASE-NL was measured using the Mann Whitney U-test, the One Way ANOVA and the Brown Forsythe ANOVA-test. The internal consistency of the EASE was considered good. For the external consistency, the Pearson correlation coefficient showed a positive correlation between the total score of the EASE-NL and the SVHI-10-NL. Dysphonic singers scored significantly higher compared to singers without voice problems and no differences were found between the pre and post singing condition in both groups. Pearson correlations coefficients showed a strong positive correlation between the test and retest condition and between the subscales. A ROC-curve analysis showed a cut-off score of 12.5, with a sensitivity level of 75.0% and a specificity level of 74.1%. No differences for sex and age were found. The original English version of the EASE was translated and validated in Dutch. The EASE-NL is found to be a valid and reliable self-reported tool to assess singer's perceptions of the current status of their singing voice.

The Singing Voice’s Charms: Aesthetic and Transformative Aspects of Singing in Literature, Art, and Philosophy

The Singing Voice’s Charms: Aesthetic and Transformative Aspects of Singing in Literature, Art, and Philosophy

Technical and Expressively Meaningful Functions of "Transitional Tones” and “Primary Tone” in the Context of Vocal-Register Performing Strategy

The purpose of the study is to determine the technical and expressive functions of “transitional tones” and “primary tone” in vocal art. The methodology is based on the holistic analysis of the performing, teaching experience of prominent singers, teachers, the author's own experience in synergy with the works of musicologists and scholars, used to study the specific functioning of the “transitional tones” and “primary tones” in the structure of the opera part as an artistic whole; performing analysis, aimed at determining the technical specificity of vocal singing in “transitional tones” and “primary tone”, defined as an embodiment of the specific musical content of the “soaring human spirit” over the “prose of life”; a condition for the study of the subject of research is the historical approach, with the support of which the opera singer has to select the appropriate performance-stylistic perspectives of the opera part for the sake of revealing the “artistic truth” of vocalisation. The scientific novelty of the study is due to the identification of the specifics of the synthesis of the doctrine of “transitional tones” and “primary tone”, formed in the Italian and German schools, which have gained importance as a component of the domestic vocal performance; interpretations of the singer's voice as a tool for revealing the artistic content of the musical work in terms of basing on the principle of interaction of the performing registers. Conclusions. The technical and expressive-content functions of “transitional tones” and “primary tone” in the context of vocal-register performing strategy are determined; the significance of “transitional tones” and “primary tone” as representations of the performing musicology in the process of formation of stylistic erudition and technical mastery of vocalists-performers is determined; the experience of performance technique and expressive emotional value of the “transitional tones” and the “primary tone” acquired by the Odessa school of vocal performance has been revealed.
 Key words: vocal performance, opera singing, “transitional tones”, “primary tone”, vocal-register strategy.

What We Believe

What We Believe Diana Allan (bio), Monica Williams-McCullough (bio), and Casey L. Carter (bio) FROM THE PRESIDENT In my first column, I wrote of our exciting growth in numbers, financial resources, and understanding. Like childhood growth spurts or the adolescent changing voice, growth often can be confusing or even disorienting. That is why I think it is important to remind ourselves, periodically, what it is we believe. Individually, we believe that no matter where we teach—in our homes, in a studio, at a school; no matter what we teach—commercial music, classical, or musical theatre; no matter whom we teach—adults, teens, youth, or children, we are all teachers of singing working to the best of our abilities for the good of our students and our profession. But collectively, as NATS members, what is it that we truly believe? We Believe in Our Vision Transforming lives through the power of singing Our vision is simple. In the studio, we have all shared a "light bulb" moment with a student. It is exciting and transformative. NATS, through our programs and services, works to facilitate transformational experiences for both teachers and their students. Singing is powerful, but knowledge is power. Every NATS member has the opportunity to renew and add to their knowledge by participating in valuable professional development through NATS Chats, Mentoring Initiatives, NATSCasts, national, regional, and chapter workshops, national and regional conferences, the Live Learning Center, and the Journal of Singing. I encourage you to seek out a new professional development experience in the coming year. Maybe that new experience could be to join us on NATS's second Transatlantic Pedagogy Trip to England, June 1–12, 2023. Past President Karen Brunssen and I are organizing this trip, in collaboration with our Association of Teachers of Singing, UK (AOTOS) and European Voice Teachers Association (EVTA) colleagues. The trip will include a two day mini conference, mini presentations by NATS member trip participants who may make proposals to present, visits to Westminster Abbey, St. Paul's Cathedral, Eton College, Guildford School of Acting, Cambridge, Windsor Castle, a West End show, and the opportunity to attend an opera. Karen and I are completely "chuffed" about the trip and would love for you to join us. Of course, we will find time for a High Tea. Interested? More information can be found at: nats.org/england2023 We Believe in Our Mission To advance excellence in singing through teaching, performance, scholarship, and research Our mission is also simple. As teachers of singing, we believe in advancing excellence in all aspects of singing and teaching. NATS is intent [End Page 137] on celebrating and supporting this excellence. It was my distinct pleasure to review all of the proposals that were submitted for the 2022 National Conference program. It was humbling and inspiring to recognize the breadth and depth of these excellent proposals from all corners of our association, which is only the tip of the NATS iceberg. As we expand globally through the formation of international chapters, we can celebrate NATS members throughout the world who are advancing excellence. We Believe in Our Ability to Accomplish Our Shared Goals We all have set goals and have encouraged our students to do the same. Belief in our goals and our ability to accomplish them is key to our success. NATS is no different. Through our strategic plan, NATS has set two overarching goals: 1) to advance the standing of NATS as the preferred professional organization for voice professionals by growing membership, building mutually beneficial strategic stakeholder relationships, and continuing to develop an outstanding portfolio of programs and services; and 2) to build organizational capacity to realize our goals by improving management practices and increasing financial resources. As reported to the NATS Board and the members in attendance at our conference this past summer, we have believed in this plan, put this belief into action, and are on track to accomplish our strategic goals by 2025. We Believe in Our Leaders As evidenced by our own country and world events, it is sometimes difficult to believe in leadership. Where NATS is concerned, I can strongly say that I believe in and trust our leadership...

Acoustic Effects of the Singing Voice Quality of Untrained Female Singers in Malaysia

Vocal warm-ups are widespread and comprehensive in the singing community. Although it is well recognised and practised by professionals, warm-ups are sometimes bypassed and neglected by singers and voice teachers. The objective of this study is to assess the impact of vocal warm-up on vocal quality through acoustic parameters of jitter (%), shimmer (%), and harmonics-to-noise (HNR [dB]) in two-pitch conditions, A3 (chest register) and C5 (head register), before and after vocal warm-up. Forty untrained female singers were recorded twice while uttering the vowels /a/, /o/, and /i/ in two different pitches: Low—A3 (220.0 Hz) and High—C5 (523.2 Hz) for at least five seconds. A standardised warm-up protocol with a duration of 20-minute was carried out in this study. The subjects were recorded immediately before and after a 20-minute vocal warm-up session. Significant improvements were found in the mean values of measured acoustic parameters. A decrease was observed compared with the mean jitter and shimmer values before and after a vocal warm-up, while the HNR increased. All the acoustic variables, jitter, shimmer, and HNR were found to have significantly larger improvements in the lower pitch, A3 (chest register), compared to the higher pitch, C5 (head register). The findings of this study provided empirical evidence for the beneficial effect of vocal warm-up on the voice quality of untrained female singers. The positive effects of the findings indicated that the vocal warm-up should be encouraged and not bypassed.

Horizontal and Vertical Voice Directivity Characteristics of Sung Vowels in Classical Singing

Singing voice directivity for five sustained German vowels /a:/, /e:/, /i:/, /o:/, /u:/ over a wide pitch range was investigated using a multichannel microphone array with high spatial resolution along the horizontal and vertical axes. A newly created dataset allows to examine voice directivity in classical singing with high resolution in angle and frequency. Three voice production modes (phonation modes) modal, breathy, and pressed that could affect the used mouth opening and voice directivity were investigated. We present detailed results for singing voice directivity and introduce metrics to discuss the differences of complex voice directivity patterns of the whole data in a more compact form. Differences were found between vowels, pitch, and gender (voice types with corresponding vocal range). Differences between the vowels /a:, e:, i:/ and /o:, u:/ and pitch can be addressed by simplified metrics up to about d2/D5/587 Hz, but we found that voice directivity generally depends strongly on pitch. Minor differences were found between voice production modes and found to be more pronounced for female singers. Voice directivity differs at low pitch between vowels with front vowels being most directional. We found that which of the front vowels is most directional depends on the evaluated pitch. This seems to be related to the complex radiation pattern of the human voice, which involves a large inter-subjective variability strongly influenced by the shape of the torso, head, and mouth. All recorded classical sung vowels at high pitches exhibit similar high directionality.

Voice Quality of Choir Singers and the Effect of a Performance on the Voice

The voice use of choir singers is understudied despite the imbalance of high vocal demands versus low vocal education, and consequently increased risk for voice problems. Also, there is a lack of information on the effects of a performance on choristers' voices. Available studies included performances of at least one hour. To date, no studies investigated the effects of a choir performance with a duration resembling vocal warm-ups. The first purpose of this study was to determine the voice quality, capacities, symptoms and voice-related quality of life of choir singers. Secondly, the effect of a short choir performance, resembling warm-up duration (15 minutes), on the choristers' voices was investigated. A randomized controlled trial was used. Thirty adult choir singers (25 women, 5 men; mean age: 32 years) were assigned randomly to an experimental group or a control group. Participants in the experimental group sung in choir for 15 minutes immediately after their pre voice assessment, whereas the control group was instructed to have standard voice use (one-on-one conversation with the investigator, no singing) across that time span. A second voice assessment was repeated afterwards. The choir singers showed excellent voice quality and capacities with mean scores on the Dysphonia Severity Index and Acoustic Voice Quality Index of 7.5 and 2.0, respectively. Auditory-perceptually, the mean grade score was 5/100 corresponding with a normal to mildly deviant voice quality. Patient-reported outcome measures showed mean deviant scores, indicating a considerable singing voice handicap. The choir singers seem vulnerable for stress with a high occurrence rate of 76.7% (23/30). Compared with the control group, the Dysphonia Severity Index significantly improved, whereas the self-perceived presence of vocal fatigue and complaints increased after 15 minutes of choir singing. Fundamental frequency increased in both groups, being more outspoken in the experimental group. Choir singers show excellent voice quality and capacities, that further improve after a short choir performance of 15 minutes. Vocal fatigue and complaints, on the other hand, already increased after that short time span. Realizing that vocal load is much higher in real-life rehearsals, competitions and performances, choristers deserve and need a qualitative voice training and a strict follow-up. Future research should focus on effective vocal warm-up and cool-down programs for this population.

Three applications of analysis-by-synthesis in music science

The article describes how my research has applied the analysis-by-synthesis strategy to (1) the composition of melodies in the style of nursery tunes, (2) music performance and (3) vocal singing. The descriptions are formulated as generative grammars, which consist of a set of ordered, context-dependent rules capable of producing sound examples. These examples readily reveal observable weaknesses in the descriptions, the origins of which can be traced in the rule system and eliminated. The grammar describing the compositional style of the nursery tunes demonstrates the paramount relevance of a hierarchical structure. Principles underlying the transformation from a music score file to a synthesized performance are derived from recommendations by a violinist and music performance coach, and can thus be regarded as a description of his professional skills as musician and pedagogue. Also in this case the grammar demonstrates the relevance of a hierarchical structure in terms of grouping, and reflects the role of expectation in music listening. The rule system describing singing voice synthesis specifies acoustic characteristics of performance details. The descriptions are complemented by sound examples illustrating the effects of identified compositional and performance rules in the genres analysed.

The Singing Voice Specialist: An Overview of the History, Training Protocols, Career Opportunities, and General Considerations

The Singing Voice Specialist: An Overview of the History, Training Protocols, Career Opportunities, and General Considerations

Effects of Laryngeal Manual Therapy on Primary Muscle Tension Dysphonia (MTD-1): Implications for MTD-1 Type

The study investigated effects of laryngeal manual therapy on different types of primary muscle tension dysphonia (MTD-1). Interventional pre-test post-test design. Thirty-two traditional Iranian singers (mean age of 36.75 ± 9.34 years.) diagnosed with MTD-1, 8 female and 24 male, and recruited by convenience sampling completed the study. MTD-1 was classified as Morrison and Rammage's types 1-5, based on standardized criteria (1993). Pre-post-treatment measures were based on visual ratings of the larynx, acoustic analyses, auditory-perceptual assessments of voice (Auditory-Perceptual Rating Instrument for Operatic Singing Voice: EAI Scale Form), and the Persian Singing Voice Handicap Index (P-SVHI), reported before and after 10 sessions of laryngeal manual therapy (LMT). The most notable finding was that the number of cases with MTD-1 types 1 and 2 actually increased after treatment, while the number of cases with MTD-1 types 3, 4 and 5 decreased. The data suggested that MTD-1 types 3, 4, and 5 tended to convert to types 1 and 2 with LMT. Acoustic analyses showed a significant decrease in F0 (males only; P=0.011), a sharp decrease in HNR from 23.26 dB to 14.74 dB (P=0.000), and an increase in shimmer from 4.18% to 6.90 % while no appreciable change was found in jitter (P=0.57). Mean P-SVHI score decreased significantly from 52.03 to 41.16 (P=0.002) and EAI score increased from 4.41 to 6.31 (P=0.000) after treatment. The primary finding was that the distribution of MTD-1 type changed after treatment in many cases, converting from one to another type. Acoustic as well as glottal closure measures for several participants revealed closure insufficiency after treatment, unveiled as hyperfunction was unloaded with LMT. For those participants, complementary treatments aimed at reinforcement of laryngeal closure functions would be appropriate.

Reliability and Validity of the Mandarin Version of Singing Voice Handicap Index - 10 (MSVHI-10)

The present study aims to evaluate the reliability and validity of the Mandarin version of the Singing Voice Handicap Index-10 (MSVHI-10). One hundred and fifteen singers, aged from 21 to 65, participated in this study. All the subjects completed the Mandarin version of the SVHI-10 and the Voice Handicap Index-10 (VHI-10). Other gathered information include sex, age, type of singing performance, and the accumulated years of singing. We also asked the participants to self-report the presence of singing voice complaint. Statistical analyses were performed to evaluate the validity, reliability, and the Receiver Operating Characteristic (ROC) curve of MSVHI-10. The results showed high internal consistency (Cronbach's α =0.96), with the scores of each question ranged from 0.57 to 0.90. Forty-three singers re-filled the MSVHI-10 with an interval of 12.7 ± 9.3 days (mean ± standard deviation), and the results showed a high test-retest reliability (r=0.98, P < 0.01). The SVHI-10 scores were significantly correlated with the VHI-10 (r=0.54-0.72, P < 0.01). ROC analysis revealed a high differentiating accuracy for distinguishing between the subjects with or without singing voice complaints, with an area under the curve (AUC) of 0.97. At the cut-off score of 21.5, the sensitivity and specificity were 85.7% and 95.9%, respectively. The Mandarin version of the SVHI-10 has been shown to be a reliable and valid instrument for evaluating the self-perception of singing voice complaints.