"The Etude Magazine" would often use the literary style of causerie to deliver information. The author would create a fictional scenario to administer advice or share knowledge. One such approach was through a column entitled, “Notes of Cases From the Records of A Voice Hospital.” A fictional voice patient’s clinical scenario would be introduced, usually with enough information for the reader to suggest a diagnosis. The author explained the findings of their “examination,” offered a diagnosis, and recommended treatment.
{"title":"Notes of Cases from the Records of a Voice Hospital, Part 2","authors":"Kimberly Broadwater","doi":"10.53830/tshe1906","DOIUrl":"https://doi.org/10.53830/tshe1906","url":null,"abstract":"\"The Etude Magazine\" would often use the literary style of causerie to deliver information. The author would create a fictional scenario to administer advice or share knowledge. One such approach was through a column entitled, “Notes of Cases From the Records of A Voice Hospital.” A fictional voice patient’s clinical scenario would be introduced, usually with enough information for the reader to suggest a diagnosis. The author explained the findings of their “examination,” offered a diagnosis, and recommended treatment.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136335055","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}
Abstract:Singing voice teachers are working hard to be inclusive and progressive in the 21st century. We are aware of our power to create inclusive learning spaces that embrace our students’ identity traits, including race, gender, sexual orientation, ability, neurodivergence, and more. However, body size is almost always left out of the discussion of inclusive actions in the voice studio. Fatness is a social justice issue and singing voice teachers can either affirm or further marginalize fat students in the 1:1 training setting of the voice studio. In part one, the authors offer background information on the prevalence of fatness, the history of anti-fat bias, and the experiences of fat persons in healthcare, employment, and educational settings. This context encourages voice teachers to examine implicit anti-fat bias, one of the few remaining yet still widely tolerated cultural biases. Many believe that anti-fat bias can be justified by medical facts, but this belief requires an examination of the influence of money and the media. The authors utilize a fat liberationist framework, rejecting the long-held idea that fat bodies are problematic in the performing arts, and affirming that the performing arts industry must provide opportunities for talented and well-trained performers of every body size to work and tell stories that reflect our diverse world. In part two, the authors explore tangible pedagogical modifications to foster a sense of belonging for all voice students, including fat students. Micro-activism in the voice studio is a huge step toward systemic change, and it can have a profoundly positive impact on our students.
{"title":"Anti-Fat Bias in the Singing Voice Studio, Part One: Culture and Context","authors":"E. Benson, K. Rosen","doi":"10.53830/aprf3860","DOIUrl":"https://doi.org/10.53830/aprf3860","url":null,"abstract":"Abstract:Singing voice teachers are working hard to be inclusive and progressive in the 21st century. We are aware of our power to create inclusive learning spaces that embrace our students’ identity traits, including race, gender, sexual orientation, ability, neurodivergence, and more. However, body size is almost always left out of the discussion of inclusive actions in the voice studio. Fatness is a social justice issue and singing voice teachers can either affirm or further marginalize fat students in the 1:1 training setting of the voice studio. In part one, the authors offer background information on the prevalence of fatness, the history of anti-fat bias, and the experiences of fat persons in healthcare, employment, and educational settings. This context encourages voice teachers to examine implicit anti-fat bias, one of the few remaining yet still widely tolerated cultural biases. Many believe that anti-fat bias can be justified by medical facts, but this belief requires an examination of the influence of money and the media. The authors utilize a fat liberationist framework, rejecting the long-held idea that fat bodies are problematic in the performing arts, and affirming that the performing arts industry must provide opportunities for talented and well-trained performers of every body size to work and tell stories that reflect our diverse world. In part two, the authors explore tangible pedagogical modifications to foster a sense of belonging for all voice students, including fat students. Micro-activism in the voice studio is a huge step toward systemic change, and it can have a profoundly positive impact on our students.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"34 1","pages":"503 - 512"},"PeriodicalIF":0.0,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74672430","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}
We tend to take our voices for granted. Those of us who sing know that the voice is one of the most powerful instruments, and it is all housed completely within the human body. As singers we express musical gestures and text through our voices. But we also reveal a unique profile of sounds, feelings, and emotions unlike any other person. Our voices are our identities.Those who have struggled with vocal injury, even temporarily, know the pain of that loss. Thankfully, there are a wealth of vocal experts, doctors, and speech voice pathologists to help singers through physical challenges. But there is a class of vocal loss that isn’t at the structural level. The voices themselves are fine: no damage to the folds, no overt trauma to the mechanism. Instead, the challenges result from errors in the complex signaling of the brain to the vocal instrument. In these cases, a doctor cannot just look through a scope to diagnose the issue. The pathways are unseen, and for that reason, the approach must be customized through trial and error. It is only through specialized motor practice and experience that real change can occur. This paper explores three very personal stories of voices that were lost, and then found, through retraining and neuroplasticity.
{"title":"Voices Lost and Found","authors":"Heidi Moss Erickson","doi":"10.53830/ppkm9172","DOIUrl":"https://doi.org/10.53830/ppkm9172","url":null,"abstract":"We tend to take our voices for granted. Those of us who sing know that the voice is one of the most powerful instruments, and it is all housed completely within the human body. As singers we express musical gestures and text through our voices. But we also reveal a unique profile of sounds, feelings, and emotions unlike any other person. Our voices are our identities.Those who have struggled with vocal injury, even temporarily, know the pain of that loss. Thankfully, there are a wealth of vocal experts, doctors, and speech voice pathologists to help singers through physical challenges. But there is a class of vocal loss that isn’t at the structural level. The voices themselves are fine: no damage to the folds, no overt trauma to the mechanism. Instead, the challenges result from errors in the complex signaling of the brain to the vocal instrument. In these cases, a doctor cannot just look through a scope to diagnose the issue. The pathways are unseen, and for that reason, the approach must be customized through trial and error. It is only through specialized motor practice and experience that real change can occur. This paper explores three very personal stories of voices that were lost, and then found, through retraining and neuroplasticity.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"43 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86893624","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}
Abstract:Mental health challenges are endemic in much of the world. There is a growing body of evidence that music participation has strong benefits to mental health and well-being. Singing teachers are uniquely positioned to capitalize on these benefits for the singers in their studios, and for their own well-being.
{"title":"Your Voice Matters to Our Health","authors":"Lynn Maxfield","doi":"10.53830/mzxy3393","DOIUrl":"https://doi.org/10.53830/mzxy3393","url":null,"abstract":"Abstract:Mental health challenges are endemic in much of the world. There is a growing body of evidence that music participation has strong benefits to mental health and well-being. Singing teachers are uniquely positioned to capitalize on these benefits for the singers in their studios, and for their own well-being.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"3 1","pages":"513 - 515"},"PeriodicalIF":0.0,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85367145","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}
Abstract:This article is dedicated to the World Voice Day theme “Your Voice Matters”. It is a statement of opinion about vocalization that is nurturing and uplifting, especially to children. It is based on the author’s personal experiences in World War II, and thereafter as a child refugee and immigrant. A contrast is made between melody and harmony in vocal communication versus harsh and controlling attacks on others with speech.
{"title":"More Melody and Harmony with Less Vocal Attack","authors":"I. Titze","doi":"10.53830/fmqm5288","DOIUrl":"https://doi.org/10.53830/fmqm5288","url":null,"abstract":"Abstract:This article is dedicated to the World Voice Day theme “Your Voice Matters”. It is a statement of opinion about vocalization that is nurturing and uplifting, especially to children. It is based on the author’s personal experiences in World War II, and thereafter as a child refugee and immigrant. A contrast is made between melody and harmony in vocal communication versus harsh and controlling attacks on others with speech.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"44 1","pages":"487 - 488"},"PeriodicalIF":0.0,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74141562","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}
Abstract:Recent events, such as the #MeToo initiative, the COVID-19 pandemic, and the Black Lives Matter movement, have resulted in the reexamination of many aspects of vocal education, one of which concerns instructional touch in the voice studio. Both touchless pedagogy and use of touch are viable approaches if done with ethical intention, process, and research, considerations that are explored in this article.
{"title":"Conversations About Instructional Touch in the Voice Studio","authors":"Brian Kremer, Kim Shively","doi":"10.53830/drwk4901","DOIUrl":"https://doi.org/10.53830/drwk4901","url":null,"abstract":"Abstract:Recent events, such as the #MeToo initiative, the COVID-19 pandemic, and the Black Lives Matter movement, have resulted in the reexamination of many aspects of vocal education, one of which concerns instructional touch in the voice studio. Both touchless pedagogy and use of touch are viable approaches if done with ethical intention, process, and research, considerations that are explored in this article.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"50 1","pages":"469 - 475"},"PeriodicalIF":0.0,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80857913","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}
World Voice Day 2023 Robert T. Sataloff (bio) CARE OF THE PROFESSIONAL VOICE Each year, the journal of singing publishes an issue highlighting World Voice Day. The journal is committed to collaborating with the American Academy of Otolaryngology—Head and Neck Surgery (AAO-HNS), the Voice Foundation, and other organizations to support World Voice Day. This article is modified periodically and republished before World Voice Day (April 16th) in order to remind people to prepare to participate in its commemoration. This topic has been discussed previously by the author and others (see References). All singing and acting teachers, physicians, speech-language pathologists, nurses, voice patients, and others who care for and about the voice, should work together to raise awareness of the importance of the voice and of developments in voice care. Some years ago, the World Health Organization (WHO) recognized a particularly high rate of laryngeal cancer in Brazil. In April, 1989, the Executive Committee of the Sociedade Brasileira de Laringologia e Voz (Brazilian Association of Laryngology and Voice), a multidisciplinary society that includes physicians, speech-language pathologists and singing teachers, proposed April 16th as “Voice Day.” Later, that idea was transformed to a national voice week, and even a voice month in some locations. Soon, other societies around the world recognized the importance of public education about voice; and the European Laryngological Association (www.elsoc.org), the American Academy of Otolaryngology-Head and Neck Surgery (AAOHNS) (www.entnet.org), the Voice Foundation (www.voicefoundation.org), the American Laryngological Association (ALA) (www.alahns.org), American Bronchoesophagological Association (www.abea.net), the National Association of Teachers of Singing (www.nats.org), and other organizations began collaborating to establish an annual celebration of voice. The AAO-HNS recognized this event in 2002, and the name World Voice Day was adopted. World Voice Day was celebrated in the United States for the first time on April 16, 2003, supported by the AAO-HNS, the Voice Foundation, the American Laryngological Association, the National Association of Teachers of Singing, and numerous other societies and organizations. A summary of the evolution of World Voice Day can be found on the website of the AAO-HNS, at World-Voice-Day.org, and in a 2007 editorial by Svec and Behlau. Typically, World Voice Day activities include lectures, concerts, educational programs, clinical voice screenings, and media events scheduled to take place on and around April 16th. Web-based educational initiatives may be found through the AAO-HNS, Voice Foundation and World-Voice-Day.org websites, and elsewhere. Laryngologists, speech-language pathologists, [End Page 483] nurses, singers, singing teachers, actors, acting teachers and others organize celebratory events in cities throughout the world. Voice professionals are bound together by a commit
关注专业之声《歌唱杂志》每年都会出版一期《世界之声日》。该杂志致力于与美国耳鼻喉头颈外科学会(AAO-HNS)、声音基金会和其他组织合作，支持世界声音日。本文定期修改，并在世界之声日(4月16日)之前重新发布，以提醒人们准备参加纪念活动。作者和其他人之前已经讨论过这个主题(参见参考资料)。所有的歌唱和表演教师、医生、语言病理学家、护士、声音患者以及其他关心声音的人都应该共同努力，提高人们对声音重要性和声音护理发展的认识。几年前，世界卫生组织(世卫组织)认识到巴西的喉癌发病率特别高。1989年4月，包括医生、语言病理学家和歌唱教师在内的多学科协会巴西喉喉学和声音学会(Sociedade Brasileira de Laringologia e Voz)的执行委员会提议将4月16日定为“声音日”。后来，这个想法变成了全国声音周，甚至在一些地方变成了声音月。很快，世界各地的其他社会认识到关于声音的公共教育的重要性;欧洲喉科协会(www.elsoc.org)、美国耳鼻喉头颈外科学会(AAOHNS) (www.entnet.org)、声音基金会(www.voicefoundation.org)、美国喉科协会(ALA) (www.alahns.org)、美国支气管食管协会(www.abea.net)、全国歌唱教师协会(www.nats.org)和其他组织开始合作，建立一年一度的声音庆典。2002年，AAO-HNS认可了这一活动，并将其命名为“世界之声日”。2003年4月16日，美国首次在美国庆祝世界之声日，该活动得到了AAO-HNS、美国之声基金会、美国喉科协会、全国歌唱教师协会以及许多其他协会和组织的支持。有关世界之声日演变的摘要，请参阅AAO-HNS网站World-Voice- day.org，以及Svec和Behlau在2007年发表的社论。通常，世界之声日的活动包括讲座、音乐会、教育项目、临床声音筛查和媒体活动，这些活动计划在4月16日前后举行。基于网络的教育倡议可以通过AAO-HNS、语音基金会和世界语音日网站以及其他地方找到。喉科医生、语言病理学家、护士、歌手、歌唱教师、演员、表演教师和其他在世界各地的城市组织庆祝活动。声音专业人员共同致力于扩大公众对人类声音的欣赏和了解，并提高对良好声音健康和教育重要性的认识。例如，在费城，声音基金会举办的世界声音日活动包括:在城市的大部分地区都可以看到PECO皇冠彩灯、歌唱表演、声音护理讲座、图书馆等场所的儿童读物、单口喜剧表演、歌舞表演和其他活动。在Mario Andrea教授的主持下，每年在葡萄牙里斯本举行纪念世界之声日的广泛活动;在底特律地区，在亚当·鲁宾博士的指导下;和利比·史密斯博士在匹兹堡;在旧金山和博士。Clark Rosen和VyVy Young;在洛杉矶接受迈克尔·约翰斯博士的指导;在克利夫兰通过迈克尔·本宁格医生;与Jean Abitbol博士在巴黎;在贝鲁特，在阿卜杜勒·哈姆丹博士的监督下;在许多其他城市也是如此。除了由医生主导的活动外，全国歌唱教师协会积极支持世界之声日，美国各地的许多活动都是由歌唱教师、语言病理学家和其他声音专业人士组织的。未来的活动可能会更加广泛。许多活动将通过相对较新的特设世界之声日规划委员会进行协调，该委员会以其广泛的国际代表性而闻名。该组织的首次会议于2012年7月4日在德国埃尔兰根举行;该组织致力于分享……
{"title":"World Voice Day 2023","authors":"Robert Sataloff","doi":"10.53830/vsxu9457","DOIUrl":"https://doi.org/10.53830/vsxu9457","url":null,"abstract":"World Voice Day 2023 Robert T. Sataloff (bio) CARE OF THE PROFESSIONAL VOICE Each year, the journal of singing publishes an issue highlighting World Voice Day. The journal is committed to collaborating with the American Academy of Otolaryngology—Head and Neck Surgery (AAO-HNS), the Voice Foundation, and other organizations to support World Voice Day. This article is modified periodically and republished before World Voice Day (April 16th) in order to remind people to prepare to participate in its commemoration. This topic has been discussed previously by the author and others (see References). All singing and acting teachers, physicians, speech-language pathologists, nurses, voice patients, and others who care for and about the voice, should work together to raise awareness of the importance of the voice and of developments in voice care. Some years ago, the World Health Organization (WHO) recognized a particularly high rate of laryngeal cancer in Brazil. In April, 1989, the Executive Committee of the Sociedade Brasileira de Laringologia e Voz (Brazilian Association of Laryngology and Voice), a multidisciplinary society that includes physicians, speech-language pathologists and singing teachers, proposed April 16th as “Voice Day.” Later, that idea was transformed to a national voice week, and even a voice month in some locations. Soon, other societies around the world recognized the importance of public education about voice; and the European Laryngological Association (www.elsoc.org), the American Academy of Otolaryngology-Head and Neck Surgery (AAOHNS) (www.entnet.org), the Voice Foundation (www.voicefoundation.org), the American Laryngological Association (ALA) (www.alahns.org), American Bronchoesophagological Association (www.abea.net), the National Association of Teachers of Singing (www.nats.org), and other organizations began collaborating to establish an annual celebration of voice. The AAO-HNS recognized this event in 2002, and the name World Voice Day was adopted. World Voice Day was celebrated in the United States for the first time on April 16, 2003, supported by the AAO-HNS, the Voice Foundation, the American Laryngological Association, the National Association of Teachers of Singing, and numerous other societies and organizations. A summary of the evolution of World Voice Day can be found on the website of the AAO-HNS, at World-Voice-Day.org, and in a 2007 editorial by Svec and Behlau. Typically, World Voice Day activities include lectures, concerts, educational programs, clinical voice screenings, and media events scheduled to take place on and around April 16th. Web-based educational initiatives may be found through the AAO-HNS, Voice Foundation and World-Voice-Day.org websites, and elsewhere. Laryngologists, speech-language pathologists, [End Page 483] nurses, singers, singing teachers, actors, acting teachers and others organize celebratory events in cities throughout the world. Voice professionals are bound together by a commit","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"515 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136335050","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}
Abstract:Vocal subcategorization, or the practice of creating a specific vocal subcategory by adding a descriptor, i.e., dramatic, on to a primary vocal category, i.e., soprano, is both universal and contentious within the operatic world. Many factors attribute to the field's contentious nature: there is no universal system of subcategorization or subcategory taxonomy; despite sharing both primary vocal categories, i.e., soprano, mezzo soprano, contralto, tenor, baritone, and bass, and using many of the same descriptors, i.e., dramatic, lyric, and comedic, no two taxonomies are considered analogues; only one taxonomy has a codifying document; and there are not date-driven analyses of any taxonomy. This document presents the fisrst data-driven analysis of a major vocal subcategorization taxonomy, specifically the German taxonomy as outlined by the Handbuch der Oper (Kloiber, Konold, and Maschka; Bärenreither Verlag, Kassel, 2016), revealing new insights into the inner workings of the Handbuch specifically, as well as operatic genre more broadly.
摘要:声乐次分类，或通过在主要声乐类别(即女高音)上添加描述符(即戏剧)来创建特定声乐次类别的做法，在歌剧界既普遍又有争议。许多因素导致了该领域的争议性:没有普遍的子分类或子分类系统;尽管共享两个主要的声乐类别，即女高音，女中音，女低音，男高音，男中音和男低音，并使用许多相同的描述，即戏剧，抒情和喜剧，没有两个分类被认为是相似的;只有一种分类法有编纂文件;而且没有任何分类法的日期驱动分析。本文提出了第一个数据驱动分析的主要声乐子分类分类法，特别是德国分类法概述了Handbuch der Oper (Kloiber, Konold, and Maschka;Bärenreither Verlag，卡塞尔，2016)，具体地揭示了Handbuch内部运作的新见解，以及更广泛的歌剧类型。
{"title":"The Voice Divided: A Data Driven Analysis of Vocal Subcategorization","authors":"Isaiah Feken","doi":"10.53830/ougc2021","DOIUrl":"https://doi.org/10.53830/ougc2021","url":null,"abstract":"Abstract:Vocal subcategorization, or the practice of creating a specific vocal subcategory by adding a descriptor, i.e., dramatic, on to a primary vocal category, i.e., soprano, is both universal and contentious within the operatic world. Many factors attribute to the field's contentious nature: there is no universal system of subcategorization or subcategory taxonomy; despite sharing both primary vocal categories, i.e., soprano, mezzo soprano, contralto, tenor, baritone, and bass, and using many of the same descriptors, i.e., dramatic, lyric, and comedic, no two taxonomies are considered analogues; only one taxonomy has a codifying document; and there are not date-driven analyses of any taxonomy. This document presents the fisrst data-driven analysis of a major vocal subcategorization taxonomy, specifically the German taxonomy as outlined by the Handbuch der Oper (Kloiber, Konold, and Maschka; Bärenreither Verlag, Kassel, 2016), revealing new insights into the inner workings of the Handbuch specifically, as well as operatic genre more broadly.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"118 1","pages":"293 - 312"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74674004","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}
Abstract:Chinese scholar and singer Wen Zhang in this article aims to introduce a standard repertoire of modern Chinese art song, analyze musical and linguistic elements of selected songs, and provide performance strategies to guide Western singers who wish appropriately to program music of that unique genre.
{"title":"Exploring Chinese Vocal Art through the Lens of an Academician: A Guide to Performing Modern Chinese Art Songs","authors":"Wen Zhang","doi":"10.53830/xknb2526","DOIUrl":"https://doi.org/10.53830/xknb2526","url":null,"abstract":"Abstract:Chinese scholar and singer Wen Zhang in this article aims to introduce a standard repertoire of modern Chinese art song, analyze musical and linguistic elements of selected songs, and provide performance strategies to guide Western singers who wish appropriately to program music of that unique genre.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"58 1","pages":"313 - 330"},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85512818","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}
Phonation is a wonder of physics and physiology. In reductionist terms, the mechanics of the glottis can be viewed as a valve system: the streaming airflow from the lungs is passed through a dynamic and complex structure which is constantly changing aperture and configuration. The resulting pressure waves from air passing through the glottis are ultimately shaped and refined by the vocal tract giving rise to our unique voices. The nuance of this is extraordinary: as we sing and speak the vocal fold configuration is constantly changing in length and degree of contact under pressure conditions which are not always predictable. Yet the folds remain remarkably diligent in their ability to maintain equilibrium throughout these rapid changes. Without such discipline of this mechanism, we wouldn’t be capable of getting stability in any sound. Large, distal muscles of respiration are not designed to regulate such nuance at the millisecond level. So it is left to the larynx and vocal folds to balance the source sound of the system.This installment of “Minding the Gap” will be about how the brain controls this valve element at the center of our instrument: the intricate behaviors of the glottis. Neuroscience has shown that voicing, pitch, and phrasing are all signaled independently through the two laryngeal motor cortices which are a hallmark of our vocal learning abilities. Understanding these elements can help singers and teachers design targeted pedagogical strategies.
{"title":"What Garcia Got Right: Understanding Cortical Signaling of the Glottis","authors":"Heidi Moss Erickson","doi":"10.53830/jupv9911","DOIUrl":"https://doi.org/10.53830/jupv9911","url":null,"abstract":"Phonation is a wonder of physics and physiology. In reductionist terms, the mechanics of the glottis can be viewed as a valve system: the streaming airflow from the lungs is passed through a dynamic and complex structure which is constantly changing aperture and configuration. The resulting pressure waves from air passing through the glottis are ultimately shaped and refined by the vocal tract giving rise to our unique voices. The nuance of this is extraordinary: as we sing and speak the vocal fold configuration is constantly changing in length and degree of contact under pressure conditions which are not always predictable. Yet the folds remain remarkably diligent in their ability to maintain equilibrium throughout these rapid changes. Without such discipline of this mechanism, we wouldn’t be capable of getting stability in any sound. Large, distal muscles of respiration are not designed to regulate such nuance at the millisecond level. So it is left to the larynx and vocal folds to balance the source sound of the system.This installment of “Minding the Gap” will be about how the brain controls this valve element at the center of our instrument: the intricate behaviors of the glottis. Neuroscience has shown that voicing, pitch, and phrasing are all signaled independently through the two laryngeal motor cortices which are a hallmark of our vocal learning abilities. Understanding these elements can help singers and teachers design targeted pedagogical strategies.","PeriodicalId":88273,"journal":{"name":"Journal of singing : the official journal of the National Association of Teachers of Singing","volume":"38 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85761188","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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