878:. Good body alignment allows the breathing mechanism to fulfill its basic function efficiently without any undue expenditure of energy. Good body alignment also makes it easier to initiate phonation and to tune the resonators as proper alignment prevents unnecessary tension in the body. Voice Instructors have also noted that when singers assume good body alignment it often provides them with a greater sense of self-assurance and poise while performing. Audiences also tend to respond better to singers with good body alignment. Habitual good body alignment also ultimately improves the overall health of the body by enabling better blood circulation and preventing fatigue and stress on the body.
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parts in the right places at the right time, and that correcting vocal faults is accomplished by calling direct attention to the parts which are not working well. On the other extreme, is the school of thought that believes that attention should never be directed to any part of the vocal mechanism—that singing is a matter of producing the right mental images of the desired tone, and that correcting vocal faults is achieved by learning to think the right thoughts and by releasing the emotions through interpretation of the music. Most voice teachers, however, believe that the truth lies somewhere in between the two extremes and adopt a composite of those two approaches.
1201:, resonation, and articulation have become established in this comfortable area, the true quality of the voice will emerge and the upper and lower limits of the range can be explored safely. Only then can a tentative classification be arrived at, and it may be adjusted as the voice continues to develop. Many acclaimed voice instructors suggest that teachers begin by assuming that a voice is of a medium classification until it proves otherwise. The reason for this is that the majority of individuals possess medium voices and therefore this approach is less likely to misclassify or damage the voice.
1166:, singers voices are divided solely on the basis of vocal range. Choral music most commonly divides vocal parts into high and low voices within each sex (SATB). As a result, the typical choral situation affords many opportunities for misclassification to occur. Since most people have medium voices, they must be assigned to a part that is either too high or too low for them; the mezzo-soprano must sing soprano or alto and the baritone must sing tenor or bass. Either option can present problems for the singer, but for most singers there are fewer dangers in singing too low than in singing too high.
381:, became secular centers of study for singing and all other areas of musical study. The vocal pedagogical methods taught in these schools, however, were based on the concepts developed within the monastic system. Many of the teachers within these schools had their initial musical training from singing in church choirs as children. The church also remained at the forefront of musical composition at this time and remained highly influential in shaping musical tastes and practices both in and outside the church. It was the Catholic Church that first popularized the use of
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resonators affect the vocal folds; the vocal folds affect breath control; and so forth. Vocal problems are often a result of a breakdown in one part of this coordinated process which causes voice teachers to frequently focus in, intensively, on one area of the process with their student until that issue is resolved. However, some areas of the art of singing are so much the result of coordinated functions that it is hard to discuss them under a traditional heading like phonation, resonation, articulation, or respiration.
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doing. Although teachers may acquaint their students with musical styles and performance practices and suggest certain interpretive effects, most voice teachers agree that interpretation can not be taught. Students who lack a natural creative imagination and aesthetic sensibility can not learn it from someone else. Failure to interpret well is not a vocal fault, even though it may affect vocal sound significantly.
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something different in their ears/head than what a person listening to them hears. As a result, voice teachers often focus less on how it "sounds" and more on how it "feels". Vibratory sensations resulting from the closely related processes of phonation and resonation, and kinesthetic ones arising from muscle tension, movement, body position, and weight serve as a guide to the singer on correct vocal production.
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530:. As a result, there are currently two predominating schools of thought among voice teachers today, those who maintain the historical positions of the bel canto method and those who choose to embrace more contemporary understandings based in current knowledge of human anatomy and physiology. There are also those teachers who borrow ideas from both perspectives, creating a hybrid of the two.
1424:. Vocal instructors teach that with study a singer can move effortlessly from one register to the other with ease and consistent tone. Registers can even overlap while singing. Teachers who like to use this theory of "blending registers" usually help students through the "passage" from one register to another by hiding their "lift" (where the voice changes).
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Individuals can develop their voices further through the careful and systematic practice of both songs and vocal exercises. Voice teachers instruct their students to exercise their voices in an intelligent manner. Singers should be thinking constantly about the kind of sound they are making and the kind of sensations they are feeling while they are singing.
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essential difference between the human voice and other musical instruments. Singing without understandable words limits the voice to nonverbal communication. In relation to the physical process of singing, vocal instructors tend to focus more on active articulation as opposed to passive articulation. There are five basic active articulators: the lip ("
1194:"I never feel any urgency about classifying a beginning student. So many premature diagnoses have been proved wrong, and it can be harmful to the student and embarrassing to the teacher to keep striving for an ill-chosen goal. It is best to begin in the middle part of the voice and work upward and downward until the voice classifies itself."
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action, breath support, resonance adjustment, and articulatory movement) are effectively working together. Most voice teachers believe that the first step in coordinating these processes is by establishing good vocal habits in the most comfortable tessitura of the voice first before slowly expanding the range beyond that.
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McKinney says, "These three factors can be expressed in three basic rules: (1) As you sing higher, you must use more energy; as you sing lower, you must use less. (2) As you sing higher, you must use more space; as you sing lower, you must use less. (3) As you sing higher, you must use more depth; as
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Articulation is the process by which the joint product of the vibrator and the resonators is shaped into recognizable speech sounds through the muscular adjustments and movements of the speech organs. These adjustments and movements of the articulators result in verbal communication and thus form the
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is the process by which the basic product of phonation is enhanced in timbre and/or intensity by the air-filled cavities through which it passes on its way to the outside air. Various terms related to the resonation process include amplification, enrichment, enlargement, improvement, intensification,
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There are basically three major approaches to vocal pedagogy. They're all related to how the mechanistic and psychological controls are employed while singing. Some voice instructors advocate an extreme mechanistic approach that believes that singing is largely a matter of getting the right physical
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While the church maintained its dominance on intellectual and cultural life, there are individual examples of writers on voice pedagogy from this period who were from outside the church who put forward new ways of thinking and talking about the art of singing; although they lacked the wider influence
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of that register to the highest pitches. The frequency of vibration of the vocal folds is determined by their length, tension, and mass. As pitch rises, the vocal folds are lengthened, tension increases, and their thickness decreases. In other words, all three of these factors are in a state of flux
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Interpretation is sometimes listed by voice teachers as a fifth physical process even though strictly speaking it is not a physical process. The reason for this is that interpretation does influence the kind of sound a singer makes which is ultimately achieved through a physical action the singer is
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Unlike active articulation, passive articulation is a continuum without many clear-cut boundaries. The places linguolabial and interdental, interdental and dental, dental and alveolar, alveolar and palatal, palatal and velar, velar and uvular merge into one another, and a consonant may be pronounced
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Another problem in describing vocal sound lies in the vocal vocabulary itself. There are many schools of thought within vocal pedagogy and different schools have adopted different terms, sometimes from other artistic disciplines. This has led to the use of a plethora of descriptive terms applied to
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Research has shown that the larynx, the pharynx and the oral cavity are the main resonators of vocal sound, with the nasal cavity only coming into play in nasal consonants, or nasal vowels, such as those found in French. This main resonating space, from above the vocal folds to the lips is known as
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Since singing is a performing art, voice teachers spend some of their time preparing their students for performance. This includes teaching their students etiquette of behavior on stage such as bowing, learning to manage stage fright, addressing problems like nervous tics, and the use of equipment
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The Space Factor – Space refers to the amount of space created by the moving of the mouth and the position of the palate and larynx. Generally speaking, a singer's mouth should be opened wider the higher they sing. The internal space or position of the soft palate and larynx can be widened by
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Once the voice student has become aware of the physical processes that make up the act of singing and of how those processes function, the student begins the task of trying to coordinate them. Inevitably, students and teachers will become more concerned with one area of the technique than another.
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However, many voice instructors disagree with this distinction of boundaries blaming such breaks on vocal problems which have been created by a static laryngeal adjustment that does not permit the necessary changes to take place. This difference of opinion has effected the different views on vocal
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Some voice teachers, however, organize registers differently. There are over a dozen different constructs of vocal registers in use within the field. The confusion which exists concerning what a register is, and how many registers there are, is due in part to what takes place in the modal register
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terms to other forms of singing but such attempts have been met with controversy. The development of voice categorizations were made with the understanding that the singer would be using classical vocal technique within a specified range using unamplified (no microphones) vocal production. Since
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In its most basic sense, respiration is the process of moving air in and out of the body—inhalation and exhalation. Sound is produced in the larynx. But producing the sound would not be possible without a power source: the flow of air from the lungs. This flow sets the vocal folds into motion to
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The Energy Factor – In this usage the word energy has several connotations. It refers to the total response of the body to the making of sound. It refers to a dynamic relationship between the breathing-in muscles and the breathing-out muscles known as the breath support mechanism. It also
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An important goal of vocal development is to learn to sing to the natural limits of one's vocal range without any undesired changes of quality or technique. Voice instructors teach that a singer can only achieve this goal when all of the physical processes involved in singing (such as laryngeal
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Some consider that singing is not a natural process but is a skill that requires highly developed muscle reflexes, but others consider that some ways of singing can be considered as natural. Singing does not require much muscle strength but it does require a high degree of muscle coordination.
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If a singer holds any of these factors constant and interferes with their progressive state of change, his laryngeal function tends to become static and eventually breaks occur with obvious changes of tone quality. These breaks are often identified as register boundaries or as transition areas
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Although these four processes are to be considered separately, in actual practice they merge into one coordinated function. With an effective singer or speaker, one should rarely be reminded of the process involved as their mind and body are so coordinated that one only perceives the resulting
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sometime near the beginning of the 13th century. As with other fields of study, the monasteries were the center of musical intellectual life during the medieval period and many men within the monasteries devoted their time to the study of music and the art of singing. Highly influential in the
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Singing is an integrated and coordinated act and it is difficult to discuss any of the individual technical areas and processes without relating them to the others. For example, phonation only comes into perspective when it is connected with respiration; the articulators affect resonance; the
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The singing process functions best when certain physical conditions of the body exist. The ability to move air in and out of the body freely and to obtain the needed quantity of air can be seriously affected by the body alignment of the various parts of the breathing mechanism. A sunken chest
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is a self-contained instrument. Since the vocal instrument is internal, the singer's ability to monitor the sound produced is complicated by the vibrations carried to the ear through the
Eustachean (auditory) tube and the bony structures of the head and neck. In other words, most singers hear
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Appelman and
Vennard were also part of a group of voice instructors who developed courses of study for beginning voice teachers, adding these scientific ideas to the standard exercises and empirical ways to improve vocal technique, and by 1980 the subject of voice pedagogy was beginning to be
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the voice which are not always understood to mean the same thing. Some terms sometimes used to describe a quality of a voice's sound are: warm, white, dark, light, round, reedy, spread, focused, covered, swallowed, forward, ringing, hooty, bleaty, plummy, mellow, pear-shaped, and so forth.
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where acting skills are required. Many voice instructors will spend time on acting techniques and audience communication with students in these fields of interest. Students of opera also spend a great deal of time with their voice teachers learning foreign language pronunciations.
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It was not until the development of opera in the 17th century that vocal pedagogy began to break away from some of the established thinking of the monastic writers and develop deeper understandings of the physical process of singing and its relation to key concepts like
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the term vocal register has three constituent elements: a certain vibratory pattern of the vocal folds, a certain series of pitches, and a certain type of sound. Speech pathologists identify four vocal registers based on the physiology of laryngeal function: the
844:—with a wide variety of sub-classifications. Voice teachers and serious voice students spend a great deal of time studying how the voice forms vowels and consonants, and studying the problems that certain consonants or vowels may cause while singing. The
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1. Exo-labial, 2. Endo-labial, 3. Dental, 4. Alveolar, 5. Post-alveolar, 6. Pre-palatal, 7. Palatal, 8. Velar, 9. Uvular, 10. Pharyngeal, 11. Glottal, 12. Epiglottal, 13. Radical, 14. Postero-dorsal, 15. Antero-dorsal, 16. Laminal, 17. Apical, 18.
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and prolongation, although in strictly scientific usage acoustic authorities would question most of them. The main point to be drawn from these terms by a singer or speaker is that the result of resonation is, or should be, to make a better sound.
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Vocal pedagogy covers a broad range of aspects of singing, ranging from the physiological process of vocal production to the artistic aspects of interpretation of songs from different genres or historical eras. Typical areas of study include:
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and Johan
Sundberg have increased the general knowledge of voice teachers, and scientific and practical aspects of voice pedagogy continue to be studied and discussed by professionals. In addition, the creation of organisations such as the
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The various processes may progress at different rates, with a resulting imbalance or lack of coordination. The areas of vocal technique which seem to depend most strongly on the student's ability to coordinate various functions are:
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These stages must be under conscious control by the singer until they become conditioned reflexes. Many singers abandon conscious controls before their reflexes are fully conditioned which ultimately leads to chronic vocal problems.
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are brought together and breath pressure is applied to them in such a way that vibration ensues causing an audible source of acoustic energy, i.e., sound, which can then be modified by the articulatory actions of the rest of the
738:. Many voice users experience sensations in the sinuses that may be misconstrued as resonance. However, these sensations are caused by sympathetic vibrations, and are a result, rather than a cause, of efficient vocal resonance.
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For thousands of years all over the world people have sung—to express joy, celebration and grief, to aid healing, to accompany work, devotion and the rituals of life—without worrying about having a ‘good’ voice or ‘getting it
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produce sound. Breathing for singing and speaking is a more controlled process than is the ordinary breathing used for sustaining life. The controls applied to exhalation are particularly important in good vocal technique.
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The Depth Factor – In this usage the word depth has two connotations. It refers to the actual physical sensations of depth in the body and vocal mechanism and it refers to mental concepts of depth as related to tone
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Natural breathing has three stages: a breathing-in period, a breathing-out period, and a resting or recovery period; these stages are not usually consciously controlled. Within singing there are four stages of breathing:
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contemporary musicians use different vocal techniques, microphones, and are not forced to fit into a specific vocal role, applying such terms as soprano, tenor, baritone, etc. can be misleading or even inaccurate.
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they sing, such as jazz, pop, blues, soul, country, folk, and rock styles. There is currently no authoritative voice classification system within non-classical music. Attempts have been made to adopt classical
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and produces certain characteristic sounds. The term register can be somewhat confusing as it encompasses several aspects of the human voice. The term register can be used to refer to any of the following:
358:, breath support, diction, and tone quality to name a few. The ideas developed within the monastic system highly influenced the development of vocal pedagogy over the next several centuries including the
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studied and made observations on the art of singing. It is unclear, however, whether the Greeks ever developed a systematic approach to teaching singing as little writing on the subject survives today.
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Most voice teachers believe that it is essential to establish good vocal habits within a limited and comfortable range before attempting to classify the voice. When techniques of posture, breathing,
546:(now an international organization of Vocal Instructors) has enabled voice teachers to establish more of a consensus about their work, and has expanded the understanding of what singing teachers do.
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The field of voice pedagogy became more fully developed in the middle of the 20th century. A few
American voice teachers began to study the science, anatomy, and physiology of singing, especially
1539:, and musical styles and practices as it relates to the vocal literature being studied. If required they may also spend time helping their students become better sight readers, often adopting
1110:. The science behind voice classification developed within European classical music and has been slow in adapting to more modern forms of singing. Voice classification is often used within
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Many voice teachers warn of the dangers of quick identification. Premature concern with classification can result in misclassification, with all its attendant dangers. Vennard says:
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function. They occur because the vocal folds are capable of producing several different vibratory patterns. Each of these vibratory patterns appears within a particular range of
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refers to the system of vocal registers within the human voice. A register in the human voice is a particular series of tones, produced in the same vibratory pattern of the
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Acquiring vocal techniques such as legato, staccato, control of dynamics, rapid figurations, learning to comfortably sing wide intervals, and correcting vocal faults.
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Discorso delta voce e del modo d'apparare di cantar di garganta, and Scala naturale, overo
Fantasia dolcissima, intorno alle cose occulte e desiderate nella filosofia
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method of singing began to develop in Italy. This style of singing had a huge impact on the development of opera and the development of vocal pedagogy during the
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refers to the amount of breath pressure delivered to the vocal folds and their resistance that pressure, and it refers to the dynamic level of the sound.
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There are seven areas that may be listed as possible vocal resonators. In sequence from the lowest within the body to the highest, these areas are the
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to associate possible roles with potential voices. There are currently several different systems in use within classical music including: the German
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346:(pectoris, guttoris, and capitis). Their concept of head voice, however, is much more similar to the modern pedagogists understanding of the
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However, most classical music systems acknowledge seven different major voice categories. Women are typically divided into three groups:
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was the first writer on vocal pedagogy to incorporate knowledge of the physiology of the voice into a theory of singing in his treatise
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such as breaks and lifts within the voice. Other considerations are physical characteristics, speech level, scientific testing, and
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periods. It was during this time that teachers and composers first began to identify singers by and write roles for more specific
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in the 15th century, the study of singing began to move outside of the church. The courts of rich patrons, such as the Dukes of
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is often considered one of the most important voice teachers of the 19th century, and is credited with the development of the
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have the same opinions within every topic of study which causes variations in pedagogical approaches and vocal technique.
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Some voice teachers will spend time working with their students on general music knowledge and skills, particularly
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Demonstration of the small amount and low velocity of the breathing air during supported singing with a candle light
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position will limit the capacity of the lungs, and a tense abdominal wall will inhibit the downward travel of the
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792:"). These articulators can act independently of each other, and two or more may work together in what is called
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670:. The vocal folds are brought together primarily by the action of the interarytenoid muscles, which pull the
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Large, John (February–March 1972). "Towards an integrated physiologic-acoustic theory of vocal registers".
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who write vocal music must have an understanding of the skills, talents, and vocal properties of singers.
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the relaxing of the throat. Voice teachers often describe this as feeling like the "beginning of a yawn".
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must have control of the intake and exhalation of breath to achieve maximum results from their voice.
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Titze, I.R. (1994). Principles of Voice
Production, Prentice Hall (currently published by NCVS.org),
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system emerged. Within these systems, more descriptive terms were used in classifying voices such as
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system and the choral music system among many others. No system is universally applied or accepted.
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Shewan, Robert (January–February 1979). "Voice classification: An examination of methodology".
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The first surviving record of a systematized approach to teaching singing was developed in the
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unified function. Many vocal problems result from a lack of coordination within this process.
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is the process by which human singing voices are evaluated and are thereby designated into
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singers in the 16th century, which ultimately led to the popularity of castrato voices in
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is an example of an important early
Italian voice teacher. In the late 17th century, the
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There are three factors which significantly affect the ability to sing higher or lower:
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such as microphones. Some students may also be preparing for careers in the fields of
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included in many college music degree programs for singers and vocal music educators.
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was both an important singer and teacher of singing at the turn of the 20th century.
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Voice teachers in the 19th century continued to train singers for careers in opera.
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In addition, when the front of the tongue is used, it may be the upper surface or
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Vocapedia, NATS-sponsored comprehensive database on singing and vocal pedagogy
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Sundberg, Johan (January–February 1993). "Breathing
Behavior During Singing".
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Titze, I. R. (2008). The human instrument. Sci.Am. 298 (1):94–101. PM 18225701
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between registers. The distinct change or break between registers is called a
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and assists in defining what singing is, how singing works, and how proper
1910:'Anatomy of the Voice' by Theodore Dimon, Illustration by G. David Brown.
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Developing consistent vocal production with a consistent tone quality
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There are four physical processes involved in producing vocal sound:
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A region of the voice which is defined or delimited by vocal breaks.
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Describing vocal sound is an inexact science largely because the
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used for a particular purpose or in a particular social setting.
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All singing begins with breath. All vocal sounds are created by
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is the process of producing vocal sound by the vibration of the
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All of these different concepts are a part of developing proper
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Other singing elements, such as range extension, tone quality,
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John
Warrack, Ewan West. ‘’The Oxford Dictionary of Opera’’,
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Within contemporary forms of music (sometimes referred to as
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Western culture, the study of vocal pedagogy began in
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There are several purposes for vocal exercises, including:
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facility and vocal weight to differentiate between voices.
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is used frequently by voice teachers and their students.
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in the transition from the lowest to the highest tones.
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The articulators shape the sound into recognizable units
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of the monastic writers. The physician and court singer
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The vocal resonators receive the sound and influence it
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The science of vocal pedagogy: theory and application
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bodily function which occurs naturally; however, the
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development of a vocal pedagogical system were monks
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Bodymind & Voice: Foundations of Voice Education
596:. These processes occur in the following sequence:
1717:Nanie Bridgman (2001). "Maffei, Giovanni Camillo".
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Vocal sounds are divided into two basic categories—
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1086:. These qualities include but are not limited to:
522:singing method, most particularly in the areas of
1658:The New Grove Dictionary of Music & Musicians
1489:"Lining up" the voice horizontally and vertically
831:
653:that is in turn modified by the resonance of the
174:as it relates to the physical process of singing.
27:Study of the art and science of voice instruction
2565:
1474:
1465:
881:
1716:
1317:such as the upper, middle, or lower registers.
756:Places of articulation (passive & active):
2170:
1274:
1043:
776:"), the root of the tongue together with the
563:
2015:
1629:The Diagnosis and Correction of Vocal Faults
1496:
1135:. Men are usually divided into four groups:
476:and the beginning of modern voice pedagogy.
2145:National Association of Teachers of Singing
2119:Thurman, Leon; Welch, Graham, eds. (2000).
1622:
1620:
1618:
1616:
961:Voice classification in non-classical music
544:National Association of Teachers of Singing
330:who were the first to develop a concept of
147:instruction. It is used in the teaching of
2177:
2163:
2019:Vocal workouts for the contemporary singer
1886:Greene Margaret, Mathieson Lesley (2001).
1808:
1806:
1804:
1802:
1800:
1798:
1652:
1650:
1648:
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1608:
1606:
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1602:
1600:
1598:
1596:
1281:
1267:
1050:
1036:
417:. It was also during this time that noted
57:
45:
1817:. Indiana University Press. p. 434.
1768:
1766:
1764:
1762:
554:
2045:
2043:
1952:
1946:
1881:
1879:
1877:
1875:
1873:
1836:
1834:
1812:
1742:
1740:
1626:
1526:
939:controlled exhalation period (phonation)
885:
751:
687:
624:
504:Washington University School of Medicine
478:
455:
334:. These men identified three registers:
275:
1890:(6th ed.). John Wiley & Sons.
1795:
1772:
1731:10.1093/gmo/9781561592630.article.17426
1687:
1685:
1683:
1645:
1593:
950:
936:setting up controls period (suspension)
768:"), the flexible front of the tongue ("
235:Vocal styles, such as learning to sing
143:is the study of the art and science of
14:
2566:
1971:
1965:
1840:
1775:Singing: the mechanism and the technic
1759:
1746:
1694:Bel Canto: A history of vocal pedagogy
2158:
2049:
2040:
1990:
1984:
1870:
1831:
1737:
1691:
1204:
537:More recent works by authors such as
460:Examining the vocal mechanism with a
177:Breathing and air support for singing
51:Laryngoscopic view of the vocal folds
2090:Natural Voice Practitioners' Network
1680:
1523:you sing lower, you must use less."
1407:when a person sings from the lowest
800:somewhere between the named places.
772:"), the middle/back of the tongue ("
629:A labeled anatomical diagram of the
569:Physiology of vocal sound production
852:Problems in describing vocal sounds
807:of the tongue that makes contact ("
24:
2112:
1455:Developing flexibility and agility
572:
549:
25:
2605:
2138:
1173:), singers are classified by the
868:
822:
516:University of Southern California
1547:Performance skills and practices
933:breathing-in period (inhalation)
470:Manuel Patricio Rodríguez García
200:Diction, vowels and articulation
30:For instrumental technique, see
2078:
2009:
1929:
1920:
1904:
1813:Appelman, Dudley Ralph (1986).
1749:In Memoriam: William D. Vennard
1696:. University of Toronto Press.
1431:
1187:Dangers of quick identification
846:International Phonetic Alphabet
741:
1710:
832:Classification of vocal sounds
620:
40:The anatomy of the vocal folds
13:
1:
1367:is a language which combines
1171:Contemporary Commercial Music
677:
1667:Volume 6. Edmund to Fryklund
1475:Exercising the singing voice
1466:Developing the singing voice
882:Breathing and breath support
811:"), the tip of the tongue ("
641:
7:
2184:
1888:The voice and its disorders
1677:, Copyright Macmillan 1980.
1564:
815:"), or the under surface ("
10:
2610:
2522:Sound reinforcement system
2382:Concepts · Techniques
2022:. Berklee Press. pp.
1747:Gurnee, Robert T. (1986).
1208:
1070:, voices are treated like
954:
745:
681:
603:Sound is initiated in the
564:The nature of vocal sounds
271:
29:
2535:
2497:
2381:
2308:
2277:
2190:
1773:Vennard, William (1967).
1497:Extending the vocal range
1486:Extending the vocal range
1313:A particular part of the
122:
110:
105:
89:
79:
74:
56:
44:
39:
1848:The Structure of Singing
1627:McKinney, James (1994).
1586:
1449:to its maximum potential
657:. It takes place in the
1723:Oxford University Press
1631:. Genovex Music Group.
1104:vocal transition points
909:caused by air from the
399:Giovanni Camillo Maffei
1991:Smith, Brenda (2005).
917:in everyday life is a
898:
760:
692:
634:
577:
555:Pedagogical philosophy
487:
465:
365:With the onset of the
291:
124:Anatomical terminology
96:N. laryngeus recurrens
2016:Peckham Anne (2005).
1995:. Plural Publishing.
1692:Stark, James (2003).
1527:General music studies
1458:Achieving a balanced
896:
817:sub-apical consonants
782:pharyngeal consonants
755:
748:Place of articulation
691:
628:
576:
482:
459:
379:Franco-Flemish School
324:Johannes de Garlandia
319:Roman Catholic Church
279:
100:N. laryngeus superior
85:Sixth pharyngeal arch
2309:Voice classification
1483:Warming up the voice
1080:Voice classification
951:Voice classification
672:arytenoid cartilages
356:voice classification
285:The School of Athens
255:Voice classification
2373:Non-classical music
2278:Forms · Genres
1072:musical instruments
464:, late 19th century
298:. Scholars such as
2208:Extended technique
1779:Carl Fischer Music
1719:Grove Music Online
1389:vocal fry register
1294:Vocal registration
1211:Vocal registration
1205:Vocal registration
1108:vocal registration
899:
809:laminal consonants
790:glottal consonants
770:coronal consonants
761:
693:
635:
578:
524:vocal registration
496:Indiana University
488:
466:
447:coloratura soprano
411:vocal registration
373:who supported the
362:style of singing.
292:
232:related to singing
204:Vocal registration
2584:Opera terminology
2561:
2560:
2130:978-0-87414-123-8
2052:The NATS Bulletin
1974:The NATS Bulletin
1941:978-0-13-717893-3
1916:978-1-62317-197-1
1788:978-0-8258-0055-9
1753:The NATS Bulletin
1703:978-0-8020-8614-3
1638:978-1-56593-940-0
1397:falsetto register
1365:register language
1291:
1290:
1258:
1227:
1060:
1059:
894:
813:apical consonants
774:dorsal consonants
766:labial consonants
484:Mathilde Marchesi
421:began to emerge.
375:Burgundian School
348:falsetto register
328:Jerome of Moravia
228:Vocal health and
155:is accomplished.
153:singing technique
138:
137:
133:
32:Musical technique
16:(Redirected from
2601:
2517:Pitch correction
2484:Vocal resonation
2262:Vocal percussion
2218:Overtone singing
2203:Bathroom singing
2179:
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1955:The NATS Journal
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1624:
1401:whistle register
1384:speech pathology
1342:A certain vocal
1283:
1276:
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1256:
1225:
1215:
1214:
1052:
1045:
1038:
965:
964:
895:
696:Vocal resonation
684:Vocal resonation
528:vocal resonation
508:Juilliard School
415:vocal resonation
405:(Venice, 1564).
196:voice projection
192:Vocal resonation
130:edit on Wikidata
127:
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2500:(popular music)
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2498:Sound equipment
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2113:Further reading
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1993:Choral pedagogy
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1558:musical theater
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1219:Vocal registers
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1096:vocal tessitura
1064:classical music
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955:Main articles:
953:
942:recovery period
886:
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668:vocal apparatus
644:
623:
600:Breath is taken
571:
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552:
550:Topics of study
512:William Vennard
352:vocal resonance
332:vocal registers
274:
262:vocal technique
230:voice disorders
134:
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18:Vocal technique
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2507:In-ear monitor
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2479:Vocal register
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2469:Vocal pedagogy
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2213:Throat singing
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2139:External links
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1445:Extending the
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1428:registration.
1393:modal register
1375:into a single
1357:
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1351:A subset of a
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869:Body alignment
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823:Interpretation
821:
794:coarticulation
746:Main article:
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682:Main article:
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539:Richard Miller
506:and later the
492:Ralph Appelman
423:Giulio Caccini
419:voice teachers
389:and Classical
296:Ancient Greece
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266:voice teachers
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2389:Backup vocals
2387:
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2356:Mezzo-soprano
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2326:Bass-baritone
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2191:Singing types
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2074:0-19-869164-5
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2033:0-87639-047-5
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2002:1-59756-043-X
1998:
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1961:: 2–9, 49–51.
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1897:1-86156-196-2
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2454:Sprechgesang
2449:Scat singing
2346:Countertenor
2240:Sign singing
2235:Scat singing
2120:
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1432:Coordination
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1092:vocal weight
1079:
1062:In European
1061:
1009:Countertenor
945:
927:
919:subconscious
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724:nasal cavity
714:itself, the
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2574:Human voice
2553:Vocal coach
2543:Vocal music
2474:Vocal range
2429:Lead vocals
2414:Death growl
2404:Chest voice
2225:Oversinging
1571:Human voice
1447:vocal range
1361:linguistics
1326:chest voice
1315:vocal range
1298:vocal folds
1088:vocal range
1084:voice types
858:human voice
736:vocal tract
720:oral cavity
663:vocal folds
655:vocal tract
651:vocal folds
631:vocal folds
621:Respiration
582:respiration
439:voice types
367:Renaissance
336:chest voice
315:monasteries
215:for singing
183:for singing
106:Identifiers
2568:Categories
2512:Microphone
2424:Head voice
2399:Coloratura
2316:Voice type
2267:Beatboxing
2245:Sing-along
2198:A cappella
1422:ponticello
1399:, and the
1371:and vowel
1330:head voice
1180:voice type
1157:coloratura
969:Voice type
957:Voice type
903:vibrations
842:consonants
778:epiglottis
759:Sub-apical
726:, and the
678:Resonation
674:together.
590:resonation
500:Oren Brown
344:head voice
304:Pythagoras
281:Pythagoras
264:. Not all
224:coloratura
172:physiology
2459:Tessitura
2434:Passaggio
2351:Contralto
2336:Baritenor
1418:passaggio
1373:phonation
1337:phonatory
1322:resonance
1302:laryngeal
1251:Vocal fry
1199:phonation
1133:contralto
1076:Composers
993:Contralto
915:Breathing
876:diaphragm
661:when the
647:Phonation
642:Phonation
586:phonation
520:bel canto
431:Classical
427:bel canto
360:Bel Canto
250:Phonetics
209:Sostenuto
187:Phonation
81:Precursor
68:adduction
64:Abduction
2419:Falsetto
2409:Crooning
2331:Baritone
2300:Vocables
2255:Lip sync
2095:16 April
2058:: 30–35.
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1844:(1986).
1565:See also
1518:quality.
1379:system.
1353:language
1239:Falsetto
1145:baritone
1098:, vocal
1019:Baritone
633:or cords
435:Romantic
383:castrato
377:and the
371:Burgundy
312:medieval
245:art song
2579:Singing
2444:Rapping
2439:Quintus
2394:Belting
2361:Soprano
2250:Karaoke
2230:Rapping
2185:Singing
2086:"About"
1541:solfège
1460:vibrato
1409:pitches
1382:Within
1339:process
1306:pitches
1233:Whistle
1226:Highest
1162:Within
1125:soprano
983:Soprano
905:in the
786:glottis
728:sinuses
716:pharynx
514:at the
502:at the
387:Baroque
317:of the
300:Alypius
289:Raphael
272:History
220:vibrato
181:Posture
149:singing
75:Details
2464:Timbre
2285:Choral
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2103:right’
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1153:treble
1147:, and
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1102:, and
1100:timbre
975:Female
923:singer
907:larynx
838:vowels
722:, the
718:, the
712:larynx
710:, the
706:, the
659:larynx
605:larynx
592:, and
510:, and
391:operas
342:, and
213:legato
2548:Choir
2341:Tenor
2290:Opera
1587:Notes
1554:opera
1420:or a
1245:Modal
1141:tenor
1112:opera
1068:opera
1014:Tenor
911:lungs
805:blade
704:chest
243:, or
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112:Latin
91:Nerve
2368:Fach
2321:Bass
2295:Lied
2125:ISBN
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