The Nasal Musculature as a Control Panel for Singing-Why Classical Singers Use a Special Facial Expression?

The Relationship Between the Stomatognathic System and Voice in Classical Singers

PURPOSE

To evaluate stomatognathic system's structures and functions in classical singers, relating them to the auditory-perceptual judgment of voice quality and voice self-perception.

METHODS

A cross-sectional pilot study was conducted to evaluate the Stomatognathic System (SS) using orofacial myofunctional evaluation (MBGR Protocol). Voice handicap self-perception was assessed by the Classical Singing Handicap Index (CSHI) and the Voice Handicap Index (VHI-10). Voice samples, recorded according to the Consensus Auditory-Perceptual Evaluation of Voice (CAPE-V) protocol, underwent auditory-perceptual judgment by two voice experts. All statistical analyses adopted a 5% significance level.

RESULTS

The study included 15 classical singers (nine women and six men). Adequate assessments of lip and tongue functionality and mobility, upper and lower lip, mentum, and tongue tone were higher compared with altered assessments (P < 0.001). Nasal and oronasal breathing showed similar proportions among singers (P = 0.273). Participants reported greater pain in the masseter muscle (P ≤ 0.001), temporomandibular joint (TMJ) (P ≤ 0.001), and sternocleidomastoid muscle (SCM), especially on the left side (P ≤ 0.001). MBGR score showed no association with singers' voice handicap and voice quality self-perception.

CONCLUSION

MBGR-evaluated SS items were not related to auditory-perceptual judgment of voice quality and voice self-perception. Singers reported more pain with palpation in the SCM, masseter muscle, and TMJ. Preference for a chewing side was higher than bilateral chewing. Assessing SS is paramount for the multidimensional evaluation of classical singers' voice.

Training the Vocal Expression of Emotions in Singing: Effects of Including Acoustic Research-Based Elements in the Regular Singing Training of Acting Students

OBJECTIVES

This study examines the effects of including acoustic research-based elements of the vocal expression of emotions in the singing lessons of acting students during a seven-week teaching period. This information may be useful in improving the training of interpretation in singing.

STUDY DESIGN

Experimental comparative study.

METHODS

Six acting students participated in seven weeks of extra training concerning voice quality in the expression of emotions in singing. Song samples were recorded before and after the training. A control group of six acting students were recorded twice within a seven-week period, during which they participated in ordinary training. All participants sang on the vowel [a:] and on a longer phrase expressing anger, sadness, joy, tenderness, and neutral states. The vowel and phrase samples were evaluated by 34 listeners for the perceived emotion. Additionally, the vowel samples were analyzed for formant frequencies (F1-F4), sound pressure level (SPL), spectral structure (Alpha ratio = SPL 1500-5000 Hz - SPL 50-1500 Hz), harmonic-to-noise ratio (HNR), and perturbation (jitter, shimmer).

RESULTS

The number of correctly perceived expressions improved in the test group's vowel samples, while no significant change was observed in the control group. The overall recognition was higher for the phrases than for the vowel samples. Of the acoustic parameters, F1 and SPL significantly differentiated emotions in both groups, and HNR specifically differentiated emotions in the test group. The Alpha ratio was found to statistically significantly differentiate emotion expression after training.

CONCLUSIONS

The expression of emotion in the singing voice improved after seven weeks of voice quality training. The F1, SPL, Alpha ratio, and HNR differentiated emotional expression. The variation in acoustic parameters became wider after training. Similar changes were not observed after seven weeks of ordinary voice training.

Finite element modeling of the effects of velopharyngeal opening on vocal tract reactance in female voice

Classical singers use nasal consonants as "resonance exercises," and experimental results have shown that singers may use some velopharyngeal opening (VPO), most often in [a:] and more seldom in [i:] or [u:]. In particular, male singers have been found to increase VPO as pitch rises toward register change frequencies (passaggi). Laryngoscopic findings have shown that some VPO stabilizes vocal fold vibration; the effect is related to positive reactance. This study investigates the effects of VPO on vocal tract (VT) reactance over the range of fundamental frequencies (f₀) used in singing using a computerized tomography-based finite element model of the VT and nose of a female. According to the results, by raising the lowest VT resonances, the VPO increased the VT reactance in the frequency ranges 207-359 Hz for [i:], 265-411 Hz for [u:], and 500-611 Hz for [a:], depending on the VPO size (full or half VPO). These frequency ranges are close to the first and second passaggio of a female singer. The change may have an especially practical stabilizing effect for [a:], which is otherwise characterized by very large changes in VT reactance and negative reactance at the second passaggio.