Vocal pedagogy - Knowledge (XXG)

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. 560:

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 1437:

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.

277: 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. 689: 457: 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). 1471:

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 ("

59: 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." 1502:

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

574: 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 758:

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. 2102:

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 306:

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,

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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 1191:

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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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

99: 792:"). These articulators can act independently of each other, and two or more may work together in what is called 1042: 670:. The vocal folds are brought together primarily by the action of the interarytenoid muscles, which pull the 1841: 1722: 1103: 875: 538: 398: 63: 2050:

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. 2418: 2330: 2254: 1352: 1238: 1144: 1018: 382: 311: 244: 129: 2443: 2408: 2360: 2249: 2229: 1459: 1124: 982: 785: 727: 288: 219: 148: 2463: 1452:

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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Within 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: 2535: 2497: 2381: 2308: 2277: 2190: 1717:Nanie Bridgman (2001). "Maffei, Giovanni Camillo". 836:

Vocal sounds are divided into two basic categories—

110: 105: 89: 79: 74: 39: 1845: 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 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 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 8: 1629:The Diagnosis and Correction of Vocal Faults 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: 2155: 2019:Vocal workouts for the contemporary singer 1886:Greene Margaret, Mathieson Lesley (2001). 1808: 1806: 1804: 1802: 1800: 1798: 1652: 1650: 1648: 1614: 1612: 1610: 1608: 1606: 1604: 1602: 1600: 1598: 1596: 1281: 1267: 1214: 1050: 1036: 964: 417:. It was also during this time that noted 57: 45: 1817:. Indiana University Press. p. 434. 1768: 1766: 1764: 1762: 2045: 2043: 1881: 1879: 1877: 1875: 1873: 1836: 1834: 1742: 1740: 939:controlled exhalation period (phonation) 751: 504:Washington University School of Medicine 478: 334:. These men identified three registers: 1890:(6th ed.). John Wiley & Sons. 1731:10.1093/gmo/9781561592630.article.17426 1687: 1685: 1683: 1592: 1217: 1000: 974: 967: 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 1775:Singing: the mechanism and the technic 1694:Bel Canto: A history of vocal pedagogy 127: 36: 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 7: 2090:Natural Voice Practitioners' Network 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 (" 1455:Developing flexibility and agility 25: 1173:), singers are classified by the 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 1813:Appelman, Dudley Ralph (1986). 1749:In Memoriam: William D. Vennard 1696:. University of Toronto Press. 1187:Dangers of quick identification 846:International Phonetic Alphabet 832:Classification of vocal sounds 40:The anatomy of the vocal folds 1: 1367:is a language which combines 1171:Contemporary Commercial Music 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 (" 1888:The voice and its disorders 1677:, Copyright Macmillan 1980. 815:"), or the under surface (" 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 29: 1773:Vennard, William (1967). 1497:Extending the vocal range 1486:Extending the vocal range 1313:A particular part of the 122: 56: 44: 1848:The Structure of Singing 1627:McKinney, James (1994). 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 18:Vocal pedagogists 16:(Redirected from 2601: 2517:Pitch correction 2484:Vocal resonation 2262:Vocal percussion 2218:Overtone singing 2203:Bathroom singing 2179: 2172: 2165: 2156: 2134: 2106: 2100: 2098: 2096: 2082: 2076: 2066: 2060: 2059: 2047: 2038: 2037: 2013: 2007: 2006: 1988: 1982: 1981: 1969: 1963: 1962: 1955:The NATS Journal 1950: 1944: 1933: 1927: 1924: 1918: 1908: 1902: 1901: 1883: 1868: 1867: 1851: 1838: 1829: 1828: 1810: 1793: 1792: 1770: 1757: 1756: 1744: 1735: 1734: 1714: 1708: 1707: 1689: 1678: 1654: 1643: 1642: 1624: 1401:whistle register 1384:speech pathology 1342:A certain vocal 1283: 1276: 1269: 1256: 1225: 1215: 1052: 1045: 1038: 965: 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 61: 49: 37: 21: 2609: 2608: 2604: 2603: 2602: 2600: 2599: 2598: 2564: 2563: 2562: 2557: 2531: 2527:Monitor speaker 2500:(popular music) 2499: 2498:Sound equipment 2493: 2377: 2304: 2273: 2186: 2183: 2141: 2131: 2118: 2115: 2113:Further reading 2110: 2109: 2094: 2092: 2084: 2083: 2079: 2067: 2063: 2049: 2048: 2041: 2034: 2015: 2014: 2010: 2003: 1993:Choral pedagogy 1990: 1989: 1985: 1971: 1970: 1966: 1952: 1951: 1947: 1934: 1930: 1925: 1921: 1909: 1905: 1898: 1885: 1884: 1871: 1864: 1842:Miller, Richard 1840: 1839: 1832: 1825: 1812: 1811: 1796: 1789: 1772: 1771: 1760: 1746: 1745: 1738: 1716: 1715: 1711: 1704: 1691: 1690: 1681: 1655: 1646: 1639: 1626: 1625: 1594: 1589: 1567: 1558:musical theater 1549: 1529: 1499: 1477: 1468: 1434: 1287: 1255: 1219:Vocal registers 1213: 1207: 1189: 1096:vocal tessitura 1064:classical music 1056: 963: 955:Main articles: 953: 942:recovery period 886: 884: 871: 854: 834: 825: 757: 750: 744: 686: 680: 668:vocal apparatus 644: 623: 600:Breath is taken 571: 566: 557: 552: 550:Topics of study 512:William Vennard 352:vocal resonance 332:vocal registers 274: 262:vocal technique 230:voice disorders 134: 70: 52: 35: 28: 23: 22: 15: 12: 11: 5: 2607: 2605: 2597: 2596: 2591: 2586: 2581: 2576: 2566: 2565: 2559: 2558: 2556: 2555: 2550: 2545: 2539: 2537: 2533: 2532: 2530: 2529: 2524: 2519: 2514: 2509: 2507:In-ear monitor 2503: 2501: 2495: 2494: 2492: 2491: 2486: 2481: 2479:Vocal register 2476: 2471: 2469:Vocal pedagogy 2466: 2461: 2456: 2451: 2446: 2441: 2436: 2431: 2426: 2421: 2416: 2411: 2406: 2401: 2396: 2391: 2385: 2383: 2379: 2378: 2376: 2375: 2370: 2365: 2364: 2363: 2358: 2353: 2348: 2343: 2338: 2333: 2328: 2323: 2312: 2310: 2306: 2305: 2303: 2302: 2297: 2292: 2287: 2281: 2279: 2275: 2274: 2272: 2271: 2270: 2269: 2259: 2258: 2257: 2252: 2242: 2237: 2232: 2227: 2222: 2221: 2220: 2215: 2213:Throat singing 2205: 2200: 2194: 2192: 2188: 2187: 2184: 2182: 2181: 2174: 2167: 2159: 2153: 2152: 2147: 2140: 2139:External links 2137: 2136: 2135: 2129: 2114: 2111: 2108: 2107: 2077: 2061: 2039: 2032: 2008: 2001: 1983: 1964: 1945: 1928: 1919: 1903: 1896: 1869: 1862: 1854:Schirmer Books 1830: 1823: 1794: 1787: 1758: 1736: 1709: 1702: 1679: 1644: 1637: 1591: 1590: 1588: 1585: 1584: 1583: 1581:Throat singing 1578: 1573: 1566: 1563: 1548: 1545: 1528: 1525: 1520: 1519: 1515: 1511: 1498: 1495: 1494: 1493: 1490: 1487: 1484: 1476: 1473: 1467: 1464: 1463: 1462: 1456: 1453: 1450: 1445:Extending the 1433: 1430: 1428:registration. 1393:modal register 1375:into a single 1357: 1356: 1351:A subset of a 1349: 1346: 1340: 1333: 1318: 1289: 1288: 1286: 1285: 1278: 1271: 1263: 1260: 1259: 1254: 1253: 1247: 1241: 1235: 1228: 1222: 1221: 1209:Main article: 1206: 1203: 1188: 1185: 1175:style of music 1058: 1057: 1055: 1054: 1047: 1040: 1032: 1029: 1028: 1027: 1026: 1021: 1016: 1011: 1003: 1002: 998: 997: 996: 995: 990: 985: 977: 976: 972: 971: 952: 949: 944: 943: 940: 937: 934: 883: 880: 870: 869:Body alignment 867: 853: 850: 833: 830: 824: 823:Interpretation 821: 794:coarticulation 746:Main article: 743: 740: 682:Main article: 679: 676: 643: 640: 622: 619: 614: 613: 610: 607: 601: 570: 567: 565: 562: 556: 553: 551: 548: 539:Richard Miller 506:and later the 492:Ralph Appelman 423:Giulio Caccini 419:voice teachers 389:and Classical 296:Ancient Greece 273: 270: 266:voice teachers 258: 257: 252: 247: 233: 226: 216: 206: 201: 198: 189: 184: 178: 175: 164: 163: 141:Vocal pedagogy 136: 135: 126: 120: 119: 114: 108: 107: 103: 102: 93: 87: 86: 83: 77: 76: 72: 71: 62: 54: 53: 50: 42: 41: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 2606: 2595: 2592: 2590: 2589:Vocal coaches 2587: 2585: 2582: 2580: 2577: 2575: 2572: 2571: 2569: 2554: 2551: 2549: 2546: 2544: 2541: 2540: 2538: 2536:Miscellaneous 2534: 2528: 2525: 2523: 2520: 2518: 2515: 2513: 2510: 2508: 2505: 2504: 2502: 2496: 2490: 2487: 2485: 2482: 2480: 2477: 2475: 2472: 2470: 2467: 2465: 2462: 2460: 2457: 2455: 2452: 2450: 2447: 2445: 2442: 2440: 2437: 2435: 2432: 2430: 2427: 2425: 2422: 2420: 2417: 2415: 2412: 2410: 2407: 2405: 2402: 2400: 2397: 2395: 2392: 2390: 2389:Backup vocals 2387: 2386: 2384: 2380: 2374: 2371: 2369: 2366: 2362: 2359: 2357: 2356:Mezzo-soprano 2354: 2352: 2349: 2347: 2344: 2342: 2339: 2337: 2334: 2332: 2329: 2327: 2326:Bass-baritone 2324: 2322: 2319: 2318: 2317: 2314: 2313: 2311: 2307: 2301: 2298: 2296: 2293: 2291: 2288: 2286: 2283: 2282: 2280: 2276: 2268: 2265: 2264: 2263: 2260: 2256: 2253: 2251: 2248: 2247: 2246: 2243: 2241: 2238: 2236: 2233: 2231: 2228: 2226: 2223: 2219: 2216: 2214: 2211: 2210: 2209: 2206: 2204: 2201: 2199: 2196: 2195: 2193: 2191:Singing types 2189: 2180: 2175: 2173: 2168: 2166: 2161: 2160: 2157: 2151: 2148: 2146: 2143: 2142: 2138: 2132: 2126: 2122: 2117: 2116: 2112: 2104: 2091: 2087: 2081: 2078: 2075: 2074:0-19-869164-5 2071: 2065: 2062: 2057: 2053: 2046: 2044: 2040: 2035: 2033:0-87639-047-5 2029: 2025: 2021: 2020: 2012: 2009: 2004: 2002:1-59756-043-X 1998: 1994: 1987: 1984: 1979: 1975: 1968: 1965: 1961:: 2–9, 49–51. 1960: 1956: 1949: 1946: 1942: 1938: 1932: 1929: 1923: 1920: 1917: 1913: 1907: 1904: 1899: 1897:1-86156-196-2 1893: 1889: 1882: 1880: 1878: 1876: 1874: 1870: 1865: 1863:0-02-872660-X 1859: 1855: 1850: 1849: 1843: 1837: 1835: 1831: 1826: 1824:0-253-35110-3 1820: 1816: 1809: 1807: 1805: 1803: 1801: 1799: 1795: 1790: 1784: 1780: 1776: 1769: 1767: 1765: 1763: 1759: 1754: 1750: 1743: 1741: 1737: 1732: 1728: 1724: 1720: 1713: 1710: 1705: 1699: 1695: 1688: 1686: 1684: 1680: 1676: 1675:1-56159-174-2 1672: 1668: 1664: 1663:Stanley Sadie 1660: 1659: 1653: 1651: 1649: 1645: 1640: 1634: 1630: 1623: 1621: 1619: 1617: 1615: 1613: 1611: 1609: 1607: 1605: 1603: 1601: 1599: 1597: 1593: 1586: 1582: 1579: 1577: 1576:Voice teacher 1574: 1572: 1569: 1568: 1564: 1562: 1559: 1555: 1546: 1544: 1542: 1538: 1537:music history 1534: 1526: 1524: 1516: 1512: 1508: 1507: 1506: 1503: 1496: 1491: 1488: 1485: 1482: 1481: 1480: 1474: 1472: 1465: 1461: 1457: 1454: 1451: 1448: 1444: 1443: 1442: 1438: 1431: 1429: 1425: 1423: 1419: 1413: 1410: 1404: 1402: 1398: 1394: 1390: 1385: 1380: 1378: 1374: 1370: 1366: 1362: 1354: 1350: 1347: 1345: 1341: 1338: 1334: 1331: 1327: 1324:area such as 1323: 1319: 1316: 1312: 1311: 1310: 1307: 1303: 1299: 1295: 1284: 1279: 1277: 1272: 1270: 1265: 1264: 1262: 1261: 1252: 1248: 1246: 1242: 1240: 1236: 1234: 1230: 1229: 1224: 1223: 1220: 1216: 1212: 1204: 1202: 1200: 1195: 1192: 1186: 1184: 1181: 1176: 1172: 1167: 1165: 1160: 1158: 1154: 1150: 1146: 1142: 1138: 1134: 1130: 1129:mezzo-soprano 1126: 1121: 1119: 1118: 1113: 1109: 1105: 1101: 1097: 1093: 1089: 1085: 1081: 1077: 1073: 1069: 1065: 1053: 1048: 1046: 1041: 1039: 1034: 1033: 1031: 1030: 1025: 1022: 1020: 1017: 1015: 1012: 1010: 1007: 1006: 1005: 1004: 999: 994: 991: 989: 988:Mezzo-soprano 986: 984: 981: 980: 979: 978: 973: 970: 966: 962: 958: 950: 948: 941: 938: 935: 932: 931: 930: 926: 924: 920: 916: 912: 908: 904: 881: 879: 877: 868: 866: 862: 859: 851: 849: 847: 843: 839: 831: 829: 822: 820: 818: 814: 810: 806: 801: 797: 795: 791: 787: 783: 779: 775: 771: 767: 754: 749: 741: 739: 737: 731: 729: 725: 721: 717: 713: 709: 708:tracheal tree 705: 700: 697: 690: 685: 677: 675: 673: 669: 664: 660: 656: 652: 648: 641: 639: 632: 627: 620: 618: 611: 608: 606: 602: 599: 598: 597: 595: 591: 587: 583: 575: 568: 563: 561: 554: 549: 547: 545: 540: 535: 531: 529: 525: 521: 517: 513: 509: 505: 501: 497: 493: 485: 481: 477: 475: 471: 463: 458: 454: 452: 451:lyric soprano 448: 444: 440: 436: 432: 428: 424: 420: 416: 412: 406: 404: 400: 394: 392: 388: 384: 380: 376: 372: 368: 363: 361: 357: 353: 349: 345: 341: 337: 333: 329: 325: 320: 316: 313: 308: 305: 301: 297: 290: 286: 282: 278: 271: 269: 267: 263: 256: 253: 251: 248: 246: 242: 238: 234: 231: 227: 225: 221: 217: 214: 210: 207: 205: 202: 199: 197: 193: 190: 188: 185: 182: 179: 176: 173: 169: 168:Human anatomy 166: 165: 162: 161: 160: 156: 154: 150: 146: 142: 131: 125: 121: 118: 117:plica vocalis 115: 113: 109: 104: 101: 97: 94: 92: 88: 84: 82: 78: 73: 69: 65: 60: 55: 48: 43: 38: 33: 19: 2594:Vocal skills 2489:Vocal weight 2468: 2454:Sprechgesang 2449:Scat singing 2346:Countertenor 2240:Sign singing 2235:Scat singing 2120: 2101: 2093:. Retrieved 2089: 2080: 2064: 2055: 2051: 2018: 2011: 1992: 1986: 1977: 1973: 1967: 1958: 1954: 1948: 1931: 1922: 1906: 1887: 1847: 1814: 1774: 1748: 1718: 1712: 1693: 1666: 1661:. Edited by 1656: 1628: 1550: 1533:music theory 1530: 1521: 1504: 1500: 1478: 1469: 1439: 1435: 1432:Coordination 1426: 1414: 1405: 1381: 1377:phonological 1364: 1358: 1293: 1292: 1249: 1243: 1237: 1231: 1196: 1193: 1190: 1168: 1164:choral music 1161: 1137:countertenor 1122: 1115: 1092:vocal weight 1079: 1062:In European 1061: 1009:Countertenor 945: 927: 919:subconscious 900: 872: 863: 855: 835: 826: 804: 802: 798: 793: 784:"), and the 762: 742:Articulation 732: 724:nasal cavity 714:itself, the 701: 695: 694: 645: 636: 615: 594:articulation 579: 558: 536: 532: 489: 474:laryngoscope 467: 462:laryngoscope 407: 402: 395: 364: 340:throat voice 309: 293: 261: 259: 157: 152: 140: 139: 116: 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. 1980:: 17–27. 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 2127: 2103:right’ 2072: 2030: 1999: 1939: 1914: 1894: 1860: 1821: 1785: 1700: 1673: 1635: 1395:, the 1391:, the 1344:timbre 1257:Lowest 1153:treble 1147:, and 1131:, and 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 237:opera 145:voice 128:[ 112:Latin 91:Nerve 2368:Fach 2321:Bass 2295:Lied 2125:ISBN 2097:2016 2070:ISBN 2028:ISBN 1997:ISBN 1937:ISBN 1912:ISBN 1892:ISBN 1858:ISBN 1819:ISBN 1783:ISBN 1698:ISBN 1671:ISBN 1633:ISBN 1369:tone 1363:, a 1149:bass 1117:Fach 1066:and 1024:Bass 1001:Male 959:and 840:and 734:the 526:and 449:and 443:Fach 433:and 413:and 326:and 302:and 241:belt 211:and 170:and 98:and 66:and 2024:117 1727:doi 1556:or 1359:In 1328:or 494:at 393:. 287:by 194:or 2570:: 2088:. 2056:28 2054:. 2042:^ 2026:. 1978:35 1976:. 1959:49 1957:. 1872:^ 1856:. 1852:. 1833:^ 1797:^ 1781:. 1777:. 1761:^ 1751:. 1739:^ 1725:. 1721:. 1682:^ 1669:. 1665:, 1647:^ 1595:^ 1535:, 1335:A 1320:A 1143:, 1139:, 1127:, 1094:, 1090:, 1074:. 913:. 796:. 788:(" 780:(" 730:. 588:, 584:, 498:, 453:. 354:, 338:, 239:, 222:, 2178:e 2171:t 2164:v 2133:. 2105:. 2099:. 2036:. 2005:. 1943:. 1900:. 1866:. 1827:. 1791:. 1755:. 1733:. 1729:: 1706:. 1641:. 1332:. 1282:e 1275:t 1268:v 1051:e 1044:t 1037:v 132:] 34:. 20:)

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