All singers require good health to perform and have needs unique to their instrument. Both solo and choral university singing may have an increased vocal load, exacerbating their risk of injury. This study aimed to investigate the vocal health behaviours and confidence of tertiary choral and solo classical singers. Thirty-three singers (F=84.8%, solo=15, choral=18) took part in a questionnaire about voice behaviours, confidence seeking vocal health information and awareness of vocal risks. Solo singers (70%) reported more voice difficulties compared to choral singers (47%). Solo singers dedicated significantly more time to maintaining vocal health (p= 0.03). Both groups had similar confidence in judging vocal health information. All singers struggled to judge poor vocal behaviours and did not have a good grasp of vocal health/hygiene. Solo singers engaged in potentially voice harming behaviours such as long periods of speaking or voice use at work more frequently. Students were unsure where to find reliable sources of vocal health information and how to access health professionals. Future solo and choral training should include education on vocal hygiene and vocal health information to prevent the development of harmful behaviours and reduce the chance of voice disorders. KEYWORDS: Vocal health, vocal hygiene, solo singers, choral singers, health training
{"title":"Vocal Health and Wellbeing: Behaviours and Confidence in Solo and Choral Classical Singers","authors":"Timothea Lau, Victoria Flood, Helen F. Mitchell","doi":"10.56307/mrrb6629","DOIUrl":"https://doi.org/10.56307/mrrb6629","url":null,"abstract":"All singers require good health to perform and have needs unique to their instrument. Both solo and choral university singing may have an increased vocal load, exacerbating their risk of injury. This study aimed to investigate the vocal health behaviours and confidence of tertiary choral and solo classical singers. Thirty-three singers (F=84.8%, solo=15, choral=18) took part in a questionnaire about voice behaviours, confidence seeking vocal health information and awareness of vocal risks. Solo singers (70%) reported more voice difficulties compared to choral singers (47%). Solo singers dedicated significantly more time to maintaining vocal health (p= 0.03). Both groups had similar confidence in judging vocal health information. All singers struggled to judge poor vocal behaviours and did not have a good grasp of vocal health/hygiene. Solo singers engaged in potentially voice harming behaviours such as long periods of speaking or voice use at work more frequently. Students were unsure where to find reliable sources of vocal health information and how to access health professionals. Future solo and choral training should include education on vocal hygiene and vocal health information to prevent the development of harmful behaviours and reduce the chance of voice disorders. KEYWORDS: Vocal health, vocal hygiene, solo singers, choral singers, health training","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134490375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The World Health Organisation declared a global health pandemic on March 11, 2020. Over two and a half years later, symptomatic COVID-19 infection and reinfection rates remain problematically high throughout the world. Singers, singing teachers, and other professional voice users affected by COVID-19 report significant vocal, respiratory, psychological, and stamina disturbances that impact their work. Mitigating recovery time is essential for the professional voice user. Limited research has been conducted on vocal health and production for singers affected by COVID-19. This narrative literature review aims to synthesise knowledge of symptoms that affect vocal health and production. Multidisciplinary literature from the vocology, speech pathology, otolaryngology, psychology, education, singing voice pedagogy, and voice science fields were comprehensively searched, screened, reviewed, and synthesised. Findings were used to frame practice-based strategies to support the vocal habilitation of singers recovering from symptomatic COVID-19. KEYWORDS: vocology, singing voice pedagogy, voice disorders, COVID-19
{"title":"Vocal Habilitation in Post-Acute Symptomatic COVID-19 Recovery: A Narrative Review of Strategies for Singing Teachers","authors":"Daniel T. Jess","doi":"10.56307/pyzy6246","DOIUrl":"https://doi.org/10.56307/pyzy6246","url":null,"abstract":"The World Health Organisation declared a global health pandemic on March 11, 2020. Over two and a half years later, symptomatic COVID-19 infection and reinfection rates remain problematically high throughout the world. Singers, singing teachers, and other professional voice users affected by COVID-19 report significant vocal, respiratory, psychological, and stamina disturbances that impact their work. Mitigating recovery time is essential for the professional voice user. Limited research has been conducted on vocal health and production for singers affected by COVID-19. This narrative literature review aims to synthesise knowledge of symptoms that affect vocal health and production. Multidisciplinary literature from the vocology, speech pathology, otolaryngology, psychology, education, singing voice pedagogy, and voice science fields were comprehensively searched, screened, reviewed, and synthesised. Findings were used to frame practice-based strategies to support the vocal habilitation of singers recovering from symptomatic COVID-19. KEYWORDS: vocology, singing voice pedagogy, voice disorders, COVID-19","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"67 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131411096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Book Review: Jazz Singing: A Guide to Pedagogy and Performance by Tish Oney, Roman and Littlefield 2022","authors":"Sydney Hoel","doi":"10.56307/pmin1959","DOIUrl":"https://doi.org/10.56307/pmin1959","url":null,"abstract":"","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134561914","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The teaching of singing is increasingly influenced by research in the fields of health science and acoustics to the extent that teachers could be excused for thinking that they need a science or other technical degree in order to teach singing responsibly. While it is a step forward to increase the accuracy of our teaching language and the precision of the mechanical aspect of instruction, the author cautions against and draws attention to the growing risks of falling into the trap of a single-minded focus on mechanics in the voice studio. The author considers the increasing reliance on mechanical models for voice teaching, offering viewpoints from philosophy and poetry in a reminder to maintain balance in the modern voice studio. KEYWORDS: Classical and contemporary voice pedagogy, Voice science, Singing and psychology, Singing technique, medicalization, singing and performance, whole versus parts, art versus science, art of singing, mechanics, mechanistic teaching, the humanities, John Dewey.
{"title":"Reclaiming Singing as Art: The Trouble with Mechanics","authors":"A. Cole","doi":"10.56307/ikhw8137","DOIUrl":"https://doi.org/10.56307/ikhw8137","url":null,"abstract":"The teaching of singing is increasingly influenced by research in the fields of health science and acoustics to the extent that teachers could be excused for thinking that they need a science or other technical degree in order to teach singing responsibly. While it is a step forward to increase the accuracy of our teaching language and the precision of the mechanical aspect of instruction, the author cautions against and draws attention to the growing risks of falling into the trap of a single-minded focus on mechanics in the voice studio. The author considers the increasing reliance on mechanical models for voice teaching, offering viewpoints from philosophy and poetry in a reminder to maintain balance in the modern voice studio. KEYWORDS: Classical and contemporary voice pedagogy, Voice science, Singing and psychology, Singing technique, medicalization, singing and performance, whole versus parts, art versus science, art of singing, mechanics, mechanistic teaching, the humanities, John Dewey.","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125048280","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Book Review: Class Voice: Fundamental Skills for Lifelong Singing by Brenda Smith and Ronald Burrichter, Plural Publishing 2022","authors":"Shelli Hulcombe","doi":"10.56307/lpvp8745","DOIUrl":"https://doi.org/10.56307/lpvp8745","url":null,"abstract":"","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126507453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Book Review: Complete Transcriptions for Piano and Vocal for Weave and Mandarin Skyline by Leigh Carriage, Wagtail Books 2021","authors":"Melissa Forbes","doi":"10.56307/akba9075","DOIUrl":"https://doi.org/10.56307/akba9075","url":null,"abstract":"","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121772292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The American Academy of Teachers of Singing (AATS), advocates that CCM singers should be taught with dedicated pedagogical approaches for each style. Recent studies, however, suggest that most contemporary Christian singers (CCS) do not receive style-appropriate vocal training. It is possible that voice teachers are not fully aware of the skill set necessary for a CCS to be successful. In this context, elite CCSs, as models of excellence, may be able to help the voice community bridge this gap and identify the ideal skill set and the best pedagogical approach for the commercial success of CCSs. For this study, we interviewed three top selling, elite CCSs with extensive experience and recognised as highly representative of their style, aiming to understand the ideal vocal skill set of commercially successful CCSs. According to the participants, ideal CCS voices should use a pop sound and not sound too classical, should sing easily, comfortably, and with freedom. The singing should be not distracting and use good diction in order to be able to communicate the message clearly. Among the most relevant findings is the suggestion that CCSs have a heavy and demanding vocal load and are at risk for vocal injury. This finding is consistent to previous studies that suggest similar issues. We hope that our findings will help the development of more appropriate private studio strategies for CCSs. Future research for this population of singers may include analysis of worship applied voice curricula.
{"title":"Understanding the Vocal Skill Set for Contemporary Christian Singers: Insights from Elite Singers","authors":"","doi":"10.56307/fnxd5489","DOIUrl":"https://doi.org/10.56307/fnxd5489","url":null,"abstract":"The American Academy of Teachers of Singing (AATS), advocates that CCM singers should be taught with dedicated pedagogical approaches for each style. Recent studies, however, suggest that most contemporary Christian singers (CCS) do not receive style-appropriate vocal training. It is possible that voice teachers are not fully aware of the skill set necessary for a CCS to be successful. In this context, elite CCSs, as models of excellence, may be able to help the voice community bridge this gap and identify the ideal skill set and the best pedagogical approach for the commercial success of CCSs. For this study, we interviewed three top selling, elite CCSs with extensive experience and recognised as highly representative of their style, aiming to understand the ideal vocal skill set of commercially successful CCSs. According to the participants, ideal CCS voices should use a pop sound and not sound too classical, should sing easily, comfortably, and with freedom. The singing should be not distracting and use good diction in order to be able to communicate the message clearly. Among the most relevant findings is the suggestion that CCSs have a heavy and demanding vocal load and are at risk for vocal injury. This finding is consistent to previous studies that suggest similar issues. We hope that our findings will help the development of more appropriate private studio strategies for CCSs. Future research for this population of singers may include analysis of worship applied voice curricula.","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121033367","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses the contexts of pre- and COVID-19 impacted group singing. It begins by outlining a purposely composed work, Wordsong, that sought to create organisational identity and foster community through in-person participatory and presentational singing. The subsequent online group singing strategies that are analysed and discussed, also sought to construct new musical identities and, for many, to create or sustain communities. Described as providing a ‘lifeline’ during the COVID-19 pandemic, the context of group singing online, particularly in relation to the multitracking of a group performance, ultimately changes the role of the singer within the group aesthetic. Indeed, like most recordings, the overall aesthetic is often engineered by someone other than the singer or singers. This creates several considerations when analysing the participatory ethos of group singing online. Until latency issues are resolved and appropriate technologies are developed to enable the real-time participatory or presentational singing afforded by works such as Wordsong, then group singing online is restricted in its traditional group singing capability. Instead, it is the singer’s perception of their individual sound that becomes a focus. This is particularly evident in relation to vocal ensemble strategies that were utilised in response to the COVID-19 pandemic. The article concludes with a model of the transformation from participatory singer to online audience member, that delineates the place or role of the singer within this transformation.
{"title":"From Participatory to Online: Exploring Contexts of Group Singing and the Role of the Singer","authors":"D. Hughes","doi":"10.56307/qlgy6002","DOIUrl":"https://doi.org/10.56307/qlgy6002","url":null,"abstract":"This article discusses the contexts of pre- and COVID-19 impacted group singing. It begins by outlining a purposely composed work, Wordsong, that sought to create organisational identity and foster community through in-person participatory and presentational singing. The subsequent online group singing strategies that are analysed and discussed, also sought to construct new musical identities and, for many, to create or sustain communities. Described as providing a ‘lifeline’ during the COVID-19 pandemic, the context of group singing online, particularly in relation to the multitracking of a group performance, ultimately changes the role of the singer within the group aesthetic. Indeed, like most recordings, the overall aesthetic is often engineered by someone other than the singer or singers. This creates several considerations when analysing the participatory ethos of group singing online. Until latency issues are resolved and appropriate technologies are developed to enable the real-time participatory or presentational singing afforded by works such as Wordsong, then group singing online is restricted in its traditional group singing capability. Instead, it is the singer’s perception of their individual sound that becomes a focus. This is particularly evident in relation to vocal ensemble strategies that were utilised in response to the COVID-19 pandemic. The article concludes with a model of the transformation from participatory singer to online audience member, that delineates the place or role of the singer within this transformation.","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129062207","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The growth of outreach work in classical music organisations over the last few decades has cemented its place as a fundamental part of such organisations’ output. In doing so, it has also created a different mode of professional work for artists. However, tensions exist within the terminology that is used to describe outreach work, and in the terminology used to differentiate outreach from what is seen as the main artistic output (often performance). Academic discussion on outreach programmes has often been framed in terms of numbers, demographics, and experiences in relation to the audience. By contrast, comparatively little research exists into the experiences of, and impact for, the artists who engage in outreach work as part of their professional careers, and even less in relation to the singer. This small-scale qualitative study explored the lived experience of professional singers engaged in opera outreach work in relation to language (terminology) and perceptions of identity and status. Its aims are to gain a deeper understanding of the lived experiences of professional opera singers within this specific professional world and offer insight around the tensions in terminology in relation to their identity (professional or subjective) and status. Findings suggest there is a lack of clarity around the definition of what outreach work is, both by those inside and outside the industry. Furthermore, this lack of clarity impacts the identity and status of those singers working in opera outreach.
{"title":"Towards an Understanding of Outreach and Identity: Professional Opera Singers’ Perspectives of Definitions, Value, and Status of Outreach","authors":"Jessica L. Leary, Rachel Drury","doi":"10.56307/ayzb7025","DOIUrl":"https://doi.org/10.56307/ayzb7025","url":null,"abstract":"The growth of outreach work in classical music organisations over the last few decades has cemented its place as a fundamental part of such organisations’ output. In doing so, it has also created a different mode of professional work for artists. However, tensions exist within the terminology that is used to describe outreach work, and in the terminology used to differentiate outreach from what is seen as the main artistic output (often performance). Academic discussion on outreach programmes has often been framed in terms of numbers, demographics, and experiences in relation to the audience. By contrast, comparatively little research exists into the experiences of, and impact for, the artists who engage in outreach work as part of their professional careers, and even less in relation to the singer. This small-scale qualitative study explored the lived experience of professional singers engaged in opera outreach work in relation to language (terminology) and perceptions of identity and status. Its aims are to gain a deeper understanding of the lived experiences of professional opera singers within this specific professional world and offer insight around the tensions in terminology in relation to their identity (professional or subjective) and status. Findings suggest there is a lack of clarity around the definition of what outreach work is, both by those inside and outside the industry. Furthermore, this lack of clarity impacts the identity and status of those singers working in opera outreach.","PeriodicalId":129585,"journal":{"name":"Australian Voice","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123112420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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