No open-access location is known for this record yet.
No open-access location is known for this record yet.
BEGIN MY FIRST ARTICLE AS Associate Editor of Journal of Singing for Voice Pedagogy with a disclaimer: do not teach belting or other contemporary commercial singing techniques. In addition, do not teach straight tone singing, jazz, world music, extended vocal techniques, or classical literature in languages don't speak or understand. have nothing against any of these genres; indeed, enjoy listening to them and greatly admire the singers and teachers who have mastered them. My musical background, both as a pedagogue and performer, is firmly rooted in the Western, classical traditions of the seventeenth through twentyfirst centuries. With one small exception, pursuit of this music has occupied my entire professional life. Several years ago, stepped outside my safety zone to sing Pinball Wizard from the rock opera Tommy, accompanied by a genuine rock band, as the finale to a recital for the 25th anniversary gala of a regional opera company-their Silver Ball. In spite of my stunning (or was it stunned) rendition, the band did not offer me a gig as their new lead singer, which took as a sign to stay within my self-designated musical boundaries. Over the past decade, my teaching has evolved to include courses and workshops in the science of voice pedagogy. Students range from aspiring young singers, voice teachers, voice coaches, and stars of the Metropolitan Opera and Broadway, to speech language pathologists and nonprofessionals who just want to know more about the human voice. Objective study of physiology and acoustics is applied to the subjective aesthetic of vocal artistry to help demythologize singing. Our goal is not to understand what vocal techniques are effective, but rather why they are successful. Given the diverse wealth of experience students bring to these classes, it is not surprising they want to know more about belting. Predictable questions are raised and potential misconceptions revealed: * Can belting really be taught? * Does belting damage the voice? * Is belting the same as chest voice? * Does belting require the larynx to be held in an elevated position? * Is classical vocal training the best way to learn to belt? My general response to these questions has been a resounding I don't know! You'll have to speak with the experts and do further research on your own. After taking this tack for a number of years, decided it was time to explore the issue more directly. Fortunately, live only a short drive from one of the most successful teachers of belting in the world, Robert Edwin, who most graciously invited me into his studio to study a group of his belters. Based on preliminary observations of music theater majors at Westminster Choir College of Rider University, sought additional information in three areas: 1. Can closed quotient measures (the ratio of time the glottis is closed during each cycle of vibration) help define registration events in belting? 2. Does the larynx always rise during belting? 3. What measurable acoustic differences exist between belting and classical models of voice production? METHODOLOGY Twelve female singers participated in this study, which occurred on the evening of May 19,2006. Participants ranged in age from 17 to 38 years (average 20.5 years), and had studied singing for 1.5 to 14 years (average 6 years). All were in good health and were reliably able to belt at least to the pitch F^sub 5^. Glottal closure patterns related to voice registration were assessed with Voce Vista Professional software from signals generated by an electroglottograph (EGG) model EG2-PC, manufactured by Glottal Enterprises. In addition to acquiring the EGG signal, the EG2-PC tracks laryngeal elevation during phonation. Acoustic measures were acquired using a professional quality headset condenser microphone manufactured by Countryman, processed through Voce Vista Professional and Multi-Speech from Kay-Pentax. …
Loading…
Stored only when both papers are in the corpus — 17 citations exist upstream.
Imported from OpenAlex (CC0) — nothing here is generated.