scholarly journals IMPORTANCE OF PROPER BREATHING IN SINGING

2021 ◽  
Vol 2 (2) ◽  
pp. 67-71
Author(s):  
Rajeshwari Devi
Keyword(s):  
Singing Voice ◽  
Management Skills ◽  
Breathing Exercise ◽  
Breath Management ◽  
The Voice ◽  
Vocal Chords

There is much truth in the statement that ‘breathing is singing’ proper breathing is essential for singing and learning of breath correctly is actually one of the most important aspect to improve the singing voice. Improving breathing technique allows a singer to have more control over their voice and enable them to explore a broader range of notes and to have greater capacity of air and it gives control to expel the breath in order to sustain on the notes for a longer period. The intensity of the voice depends upon the breath forces which regulate the amplitude of the vibrations of the vocal chords. If the foundation of breathing technique is not proper a singer will have poor results, and later will suffer. Good breath management skills are necessary if a singer hopes to be able to sing great wilt skill. So breathing exercise are critical for any aspiring vocalist to achieve singing success. This paper try to discuss on the Important of proper breathing in singing.

scholarly journals Establishing Normative Data on Singing Voice Parameters of Children and Adolescents with Average Singing Activity Using the Voice Range Profile

2021 ◽  
pp. 1-12
Author(s):  
Tobias Dienerowitz ◽  
Thomas Peschel ◽  
Mandy Vogel ◽  
Tanja Poulain ◽  
Christoph Engel ◽  
...  
Keyword(s):  
Socioeconomic Status ◽  
Normative Data ◽  
Clinical Diagnostics ◽  
Singing Voice ◽  
Minimum Frequency ◽  
Range Profile ◽  
Percentile Curves ◽  
The Mean ◽  
Voice Range ◽  
The Voice

<b><i>Purpose:</i></b> The purpose of this study was to establish and characterize age- and gender-specific normative data of the singing voice using the voice range profile for clinical diagnostics. Furthermore, associations between the singing voice and the socioeconomic status were examined. <b><i>Methods:</i></b> Singing voice profiles of 1,578 mostly untrained children aged between 7.0 and 16.11 years were analyzed. Participants had to reproduce sung tones at defined pitches, resulting in maximum and minimum fundamental frequency and sound pressure level (SPL). In addition, maximum phonation time (MPT) was measured. Percentile curves of frequency, SPL and MPT were estimated. To examine the associations of socioeconomic status, multivariate analyses adjusted for age and sex were performed. <b><i>Results:</i></b> In boys, the mean of the highest frequency was 750.9 Hz and lowered to 397.1 Hz with increasing age. Similarly, the minimum frequency was 194.4 Hz and lowered to 91.9 Hz. In girls, the mean maximum frequency decreased from 754.9 to 725.3 Hz. The mean minimum frequency lowered from 202.4 to 175.0 Hz. For both sexes, the mean frequency range ∆f showed a constant range of roughly 24 semitones. The MPT increased with age, for boys and girls. There was neither an effect of age nor sex on SPL<sub>min</sub> or SPL<sub>max</sub>, ranging between 52.6 and 54.1 dBA and between 86.5 and 82.8 dBA, respectively. Socioeconomic status was not associated with the above-mentioned variables. <b><i>Conclusion:</i></b> To our knowledge, this study is the first to present large normative data on the singing voice in childhood and adolescence based on a high number of measurements. In addition, we provide percentile curves for practical application in clinic and vocal pedagogy which may be applied to distinguish between normal and pathological singing voice.

Liveness and Mediatization

2021 ◽  
pp. 98-126
Author(s):  
Tereza Havelková
Keyword(s):  
The Body ◽  
Singing Voice ◽  
Live Performance ◽  
Media Technology ◽  
Sound Theory ◽  
The Voice ◽  
Louis Andriessen ◽  
Film Sound

Chapter 3 approaches liveness as an effect of immediacy. It analyzes how hypermedial opera constructs an opposition between live performance and that which is “mediatized,” that is, generated or reproduced by media technology. Relying, among others, on film sound theory, the chapter shows how the effect of liveness becomes a function of a particular relationship between sound and its source, and especially voice and body. Where some scholars have played up the discrepancy between the voice heard and the body seen in opera, this chapter is attentive to how an apparent unity of voice and body is maintained within the context of hypermediacy. With the help of Louis Andriessen and Peter Greenaway’s opera Writing to Vermeer, the chapter suggests that an alignment of liveness with femininity and body-voice unity subverts some of the critical claims that have been made with respect to both live performance and the embodied singing voice.

Allegory and Excess

2021 ◽  
pp. 38-68
Author(s):  
Tereza Havelková
Keyword(s):  
Meaning Making ◽  
Singing Voice ◽  
Text And Image ◽  
The Voice

Chapter 1 deals with the excess that opera always seems to produce in performance, which has mostly been associated with the physical, material aspects of the singing voice. Drawing on performative theory, this chapter approaches this excess as the result of a dialogic situation of meaning-making, where the audio-viewers strive to make sense of what they see and hear on stage or screen. The concept of allegory is evoked to approach the processes of meaning-making in hypermedial opera, drawing attention to how opera incites reading while at the same time withholds a coherent, univocal meaning. Allegory also helps recognize that the reading of opera involves not only text and image but also music and the voice. By contrast, the perception that the singing voice escapes signification is understood here as an effect of immediacy. Louis Andriessen’s and Peter Greenaway’s Rosa serves as the main case study.

Structure and Function of the Singing Voice

2015 ◽  
pp. 2-30
Author(s):  
Gillyanne Kayes
Keyword(s):  
Developmental Stages ◽  
Vocal Tract ◽  
Singing Voice ◽  
Hormonal Change ◽  
Research Knowledge ◽  
Vocal Function ◽  
And Function ◽  
The Impact ◽  
The Voice ◽  
Structural Aspects

Key structural aspects of the vocal mechanism and the physiology of vocal function are presented and discussed in relation to the singing voice. Details of anatomical structure and physiological function are given for the regions of the vocal tract and respiratory system under the broad headings of respiration, phonation (the larynx), and resonation. Use of voice in singing is examined in terms of breath use, control of pitch, and loudness, and shaping of resonance for change of timbre. Key developmental stages during the lifecycle are given, including infancy, childhood, voice mutation in adolescence, and the impact of hormonal change on the voice. Differences between the genders in adulthood are discussed in the light of current research knowledge of voice.

Contribution of Glottic Insufficiency to Perceived Breathiness in Classically Trained Singers

2016 ◽  
Vol 31 (3) ◽  
pp. 179-184 ◽  
Author(s):  
Ellen Graham ◽  
Vrushali Angadi ◽  
Joanna Sloggy ◽  
Joseph Stemple
Keyword(s):  
Vocal Fold ◽  
Vocal Folds ◽  
Airflow Rate ◽  
Singing Voice ◽  
Glottic Insufficiency ◽  
Maximum Phonation Time ◽  
Breath Management ◽  
Subglottal Pressure ◽  
Glottal Insufficiency ◽  
Voice Students

Breathiness in the singing voice is problematic for classical singers. Voice students and singing teachers typically attribute breathiness to breath management issues and breathing technique. The present study sought to determine whether glottic insufficiency may also contribute to breathiness in a singer’s voice. Studies have revealed a relationship between insufficient vocal fold closure and inefficiency in the speaking voice. However, the effect of insufficient vocal fold closure on vocal efficiency in singers has yet to be determined. Two groups of voice students identified with and without breathiness issues underwent aerodynamic and acoustic voice assessment as well as laryngeal stroboscopy of the vocal folds to quantify the prevalence of insufficient vocal fold closure, also known as glottic insufficiency. These assessments revealed four groups: 1) those with glottic insufficiency and no perceived voice breathiness; 2) those with glottic sufficiency and perceived voice breathiness; 3) those with glottic insufficiency and perceived breathiness; and 4) those with glottic sufficiency and no perceived breathiness. Results suggest that previously undiscovered glottal insufficiency is common in young singers, particularly women, though the correlation with identified breathiness was not statistically significant. Acoustic and aerodynamic measures including noise-to-harmonics ratio, maximum phonation time, airflow rate, subglottal pressure, and laryngeal airway resistance were most sensitive to glottic insufficiency.

The Pantomimic Voice

2021 ◽  
Vol 9 (2) ◽  
pp. 320-340
Author(s):  
Amy A. Koenig
Keyword(s):  
The Body ◽  
Singing Voice ◽  
Vocal Mimicry ◽  
Lyric Tradition ◽  
The Relationship ◽  
The Voice ◽  
Voice Relationship

Abstract Ovid’s Metamorphoses, as scholars have demonstrated, can be read in dialogue with Roman pantomime dance, and the tale of Echo and Narcissus is one of its most ‘pantomimic’ episodes. While others have focused on the figure of Narcissus in this vein, I turn instead to Echo, whose vocal mimicry can be seen as a mirror of the pantomime’s art, and whose juxtaposition with Narcissus seems emblematic of the body-voice relationship in pantomime. Echo’s desire for Narcissus engages with an existing lyric tradition of depicting the relationship between singing voice and dancing body in erotic terms. In such situations, the desire is fulfilled if the performers are both singing and dancing, uniting body and voice in performance. The thwarted union of Echo and Narcissus, however, embodies instead the dynamics of pantomime: the subordination or absence of the voice in favor of the body, and the connection created between dancer and audience.

scholarly journals DEFINITION OF A TIMBRE OF A SINGING VOICE: FACH VOICE CLASSIFICATION

2020 ◽  
pp. 112-122
Author(s):  
Sofia Fedotova ◽  
Keyword(s):  
Personal Interest ◽  
Singing Voice ◽  
Italian School ◽  
Definition Of ◽  
The Individual ◽  
Voice Classification ◽  
Physical Capacities ◽  
Russian Opera ◽  
The Voice

Timbre of a singing voice is a multifaceted and difficult concept considered by researchers in aspects of acoustics, physiology, specifics of opera singing and expressiveness of an opera image. Vocal methodical literature contains certain criteria for definition of type of voice. However, due to the variety of voices, timbres and physical capacities of singers, the individual approach to each voice is necessary. In addition, the voice definition problem can be complicated by defects of sound formation, which only can avoid few beginner vocalists. The main classification of voices was formed gradually, it developed by the XVII century, in process of development of opera art by vocal researchers a new subtypes in each type of a voice were allocated. In the article are shown some of the existing approaches to classification of the types of singing voices which choice was determined by a personal interest and availability of sources to the author. The separate section of the article is devoted to the classification of opera voices by the Fach system used in Europe, which is somewhat similar to classifications of masters of the Italian school and the Soviet researchers, but it is more differentiated, connects subtypes of a voice not only with characteristics of timbre, but also diverse skills of actors and texture of singers, and also contains examples of the opera parties not extended on the Russian opera scene – which represented the interest to the author.

scholarly journals Exploring Channel Properties to Improve Singing Voice Detection with Convolutional Neural Networks

2021 ◽  
Vol 11 (24) ◽  
pp. 11838
Author(s):  
Wenming Gui ◽  
Yukun Li ◽  
Xian Zang ◽  
Jinglan Zhang
Keyword(s):  
Neural Networks ◽  
Feature Learning ◽  
Singing Voice ◽  
Feature Maps ◽  
Multi Scale ◽  
Voice Detection ◽  
Public Datasets ◽  
The Voice ◽  
Channel Properties ◽  
Accuracy Performance

Singing voice detection is still a challenging task because the voice can be obscured by instruments having the same frequency band, and even the same timbre, produced by mimicking the mechanism of human singing. Because of the poor adaptability and complexity of feature engineering, there is a recent trend towards feature learning in which deep neural networks play the roles of feature extraction and classification. In this paper, we present two methods to explore the channel properties in the convolution neural network to improve the performance of singing voice detection by feature learning. First, channel attention learning is presented to measure the importance of a feature, in which two attention mechanisms are exploited, i.e., the scaled dot-product and squeeze-and-excitation. This method focuses on learning the importance of the feature map so that the neurons can place more attention on the more important feature maps. Second, the multi-scale representations are fed to the input channels, aiming at adding more information in terms of scale. Generally, different songs need different scales of a spectrogram to be represented, and multi-scale representations ensure the network can choose the best one for the task. In the experimental stage, we proved the effectiveness of the two methods based on three public datasets, with the accuracy performance increasing by up to 2.13 percent compared to its already high initial level.

Broadcasting the Diva of Dubbing

2021 ◽  
pp. 43-58
Author(s):  
Jennifer Fleeger
Keyword(s):  
Pacific Northwest ◽  
Educational Television ◽  
Growing Up ◽  
Singing Voice ◽  
Local Television ◽  
Award Winning ◽  
The Pacific ◽  
Fred Rogers ◽  
Maternal Voice ◽  
The Voice

For children growing up in the Pacific Northwest in the 1970s and 1980s, Hollywood playback artist Marni Nixon was known not as the singing voice of Deborah Kerr or Audrey Hepburn, but as “Marni,” the cheerful mother of an incorrigible yellow puppet named Norbert, whose problems she solved on local television with a story and a song. The award-winning Boomerang (1975–1981) reveals how the goals of educational television were linked to expectations of the maternal voice embodied in a figure familiar to parents from the Hollywood musical. The placement of Marni Nixon in a lineage of televisual children’s ventriloquists such as Shari Lewis and Fred Rogers further destabilizes the voice that would only appear to be finally united with a body. This chapter analyzes Boomerang’s structure and style alongside parenting manuals from the period to argue that the fissures in viewers’ perception of Marni Nixon reflect a shift in the cultural understanding of how mothers should interact with their children, a change surprisingly dependent on discourses of ventriloquism.

Sign in / Sign up

Export Citation Format

Share Document