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function and perception. Belting and yelling share a lot of common characteristics from and acoustical point of view. Due to vocal tract resonances and the shape of the vocal tract, favorable vowels for belting include , found in words like “cat,” and the diphthong , found in words like “lame." Belting requires the usage of these “wide” and spread vowels like the ones previously mentioned that shorten the length of the vocal tract and raise the first vocal tract resonance, which is accompanied by the presence of a strong second harmonic. This technique contrasts with traditional western classical schools of thought that do not advocate for the spreading of vowels and raising of the larynx at high registration events. Western classical models typically advocate for a stable laryngeal position and stable vocal tract shape as a voice passes through various registration events.
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is commonly referred to in a modern
American sense, can trace its origins back to the minstrel shows and the Vaudeville circuit of the Mid to Late 19th century. Belting during this period was often associated with the lower and working class, as well as other marginalized communities. Belting was seen as lesser than more traditional singing based in western classical tradition, which was perceived as more legitimate and higher class.
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While acknowledging the extra risks inherent to belting, many proponents take pains to point out that it is an advanced skill which (so long as it is a "soft yell", and produced properly without straining and pain) is no more damaging to the voice than any other type of singing. Indeed, some genres
62:
Belting, or belt voice, as a vocalism has no specific origin that is easily traceable to one specific source. Belting can be found all over the world in music from many different cultures. Some prominent examples of this include
Mexican, African and Middle Eastern musical traditions. Belting, as it
263:
Traditionally, throughout voice pedagogy literature, the belt, yell or call is characterized acoustically on a spectrogram by the presence of a dominant second harmonic. However, it is important to note that belting research is still evolving and changing as voice scientists learn more about vocal
208:
There are many explanations as to how the belting voice quality is produced. Under a scope, the vocal folds visibly shorten and thicken, and they undulate along with more of their vertical surface area than in head register when a smaller segment of their edge must undulate to produce sound.
50:. Belting is sometimes described as "high chest voice" or "mixed voice" (not to be confused with the mixing technique), although if this is done incorrectly, it can potentially be damaging for the voice. It is often described as a
216:, has conducted research on the belting voice, and describes the belting voice as an extremely muscular and physical way of singing. When observing the vocal tract and torso of singers, while belting, Estill observed:
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Belting without proper coordination can lead to constriction of the muscles surrounding the vocal mechanism. Constriction can consequently lead to vocal deterioration.
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Vocal tract adjustments like velar lowering, pharyngeal wall narrowing, laryngeal raising, aryepiglottic and lateral laryngeal constriction were frequently found.
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As for the physiological and acoustical features of the metallic voice, a master's thesis has drawn the following conclusions:
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105:, which established belting as a signature quality of the James Bond films that continued through to the following century.
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while playing live. Many in the musical theater industry like to quip, "belting is not bad; bad belting is bad."
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Maximum muscular effort of the extrinsic laryngeal muscles, minimum effort at the level of the true vocal folds.
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In frequencies for F2, metallic voice perceived as louder was correlated to increase in amplitude of F3 and F4.
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54:, although this is also technically incorrect; it is rather a descriptive term for the use of a register.
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324:"Mirroring the voice from Garcia to the present day: Some insights into singing voice registers"
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471:"Belting – Shirley Bassey Nearly Passed Out Holding the Climactic Final Note of 'Goldfinger'"
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234:) (in Estill Voice Training terminology this is known as Head and Neck Control or Anchoring)
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Minimal airflow (longer closed phase (70% or greater) than in any other type of phonation)
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British pop singer, Ellie
Goulding, engaging in what is likely a vocal belt technique.
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Popular
Singing: A Practical Guide To: Pop, Jazz, Blues, Rock, Country and Gospel
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547:(1988). "Belting and Classic Voice Quality: Some Physiological Differences".
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615:(1st ed.). Lanham, Maryland: Rowman & Littlefield. pp. 68–72.
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523:(1st ed.). Lanham, Maryland: Rowman & Littlefield. pp. 71–89.
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580:"The Contribution of Aryepiglottic Constriction to 'Ringing' Voice Quality"
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701:(Masters thesis) (in Portuguese). SĂŁo Paulo: Faculdade de Medicina, USP.
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Engagement of muscles in the head and neck in order to stabilize the
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Voz metálica: estudo das caracterĂsticas fisiolĂłgicas e acĂşsticas
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Significant increases in amplitudes of F2, F3 and F4 were found.
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280:) rely on belting to allow the vocalist to "cut through" the
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terminology this is known as Torso
Control or Anchoring)
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401:"The Confusion About Belting: A Personal Observation"
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No significant changes in frequency and amplitude of
445:"The Evolution of the Female Broadway Singing Voice"
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372:are known for their signature styles of belting
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643:. Oxford: Oxford University Press. p. .
223:Maximum muscular engagement of the torso (in
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666:"How All Singers Should Think About Belting"
145:introducing citations to additional sources
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432:(2): 213–215 – via Full Text Finder.
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443:Jones, Kevin Michael (November 5, 2015).
135:Relevant discussion may be found on the
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549:Medical Problems of Performing Artists
708:10.11606/D.5.2003.tde-19102005-145626
7:
664:Stoney, Justin (November 15, 2016).
521:So You Want to Sing Musical Theatre
469:Cohen, Howard (January 19, 2018).
14:
695:Hanayama, Eliana Midori (2003).
128:relies largely or entirely on a
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91:sequence of the James Bond film
38:by which a singer carries their
641:The Oxford Dictionary of Opera
328:Logopedics Phonatrics Vocology
244:High positioning of the larynx
66:Belting became commonplace in
1:
598:10.1016/S0892-1997(89)80057-8
83:(1930), notably in the song "
34:) is a specific technique of
374:Soto-Morettini, D. (2006).
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1086:Sound reinforcement system
946:Concepts · Techniques
399:LoVetri, Jeanette (2012).
613:Practical Vocal Acoustics
449:Musical Theatre Resources
407:. September–October 2012.
340:10.1080/14015430500344844
500:Observations on film art
496:"Film technique: Music"
322:Henrich, B. N. (2006).
252:aryepiglottic sphincter
237:A downward tilt of the
670:Voice Council Magazine
519:Flynn, Amanda (2022).
418:Edwim, Robert (2007).
24:
676:on September 27, 2019
639:; West, Ewan (1992).
611:Bozeman, Ken (2013).
225:Estill Voice Training
46:with a proportion of
42:above their break or
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873:Voice classification
276:of singing (such as
156:"Belting" music
141:improve this article
937:Non-classical music
842:Forms · Genres
378:. A & C Black.
1138:Singing techniques
772:Extended technique
574:Yanagisawa, Eiji;
425:Journal of Singing
370:Christina Aguilera
97:(1964) features a
77:'s performance in
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385:978-0-7136-7266-4
250:Narrowing of the
239:cricoid cartilage
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16:Singing technique
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1048:Vocal resonation
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782:Overtone singing
767:Bathroom singing
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672:. Archived from
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139:. Please help
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126:This section
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32:vocal belting
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1053:Vocal weight
1018:Sprechgesang
1013:Scat singing
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910:Countertenor
804:Sign singing
799:Scat singing
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680:February 25,
678:. Retrieved
674:the original
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555:(1): 37–43.
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478:. Retrieved
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85:I Got Rhythm
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75:Ethel Merman
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1117:Vocal coach
1107:Vocal music
1038:Vocal range
993:Lead vocals
978:Death growl
968:Chest voice
789:Oversinging
405:VOICEPrints
334:(1): 3–14.
40:chest voice
1076:Microphone
988:Head voice
963:Coloratura
880:Voice type
831:Beatboxing
809:Sing-along
762:A cappella
576:Estill, Jo
545:Estill, Jo
505:2024-04-12
309:References
278:blues rock
197:April 2024
167:newspapers
109:Physiology
99:title song
94:Goldfinger
80:Girl Crazy
73:following
48:head voice
1023:Tessitura
998:Passaggio
915:Contralto
900:Baritenor
259:Acoustics
214:Jo Estill
137:talk page
44:passaggio
1132:Category
983:Falsetto
973:Crooning
895:Baritone
864:Vocables
819:Lip sync
578:(1989).
561:45440649
356:14093252
348:16531287
71:musicals
68:Broadway
1008:Rapping
1003:Quintus
958:Belting
925:Soprano
814:Karaoke
794:Rapping
749:Singing
181:scholar
87:". The
58:History
36:singing
28:Belting
1028:Timbre
849:Choral
647:
619:
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354:
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232:larynx
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1112:Choir
905:Tenor
854:Opera
557:JSTOR
352:S2CID
188:JSTOR
174:books
932:Fach
885:Bass
859:Lied
682:2024
645:ISBN
617:ISBN
525:ISBN
482:2024
456:2024
380:ISBN
344:PMID
160:news
30:(or
703:doi
594:doi
336:doi
143:by
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