1. The Science of the Voice with an emphasis on voice training

2. History of Vocal Training  ｷ About 600 Pope Gregory set up schools to teach church singing  o His name has been attributed to the style of singing from that period called Gregorian Chant. / At the time, the ideal voice was a high, flexible male voice.  ｷ About 600 Pope Gregory set up schools to teach church singing  o His name has been attributed to the style of singing from that period called Gregorian Chant. / At the time, the ideal voice was a high, flexible male voice.

3.  o 13 th century / Singing technique developed in response to the more ornate music which required greater skill. / Well known singers were generally also composers (such as Vitry, Dufay and Josquin) because few individuals could make a living on singing alone at the time / Since instruments with a Moorish influence were popular at the time it is probable that the favored vocal timbre was also Moorish and therefore reedy in tone.  o 13 th century / Singing technique developed in response to the more ornate music which required greater skill. / Well known singers were generally also composers (such as Vitry, Dufay and Josquin) because few individuals could make a living on singing alone at the time / Since instruments with a Moorish influence were popular at the time it is probable that the favored vocal timbre was also Moorish and therefore reedy in tone.

4.  o 14 th and 15 th century / Most music during this period had four lines- bassus, tenor, altus and descant. / The bass voice became prominent for singing the lowest part. / Descants were sung by young boys or by men in what was a new technique, called falsetto.  o Late renaissance / Madrigal singing became popular.  The style reflected lute and viol ensembles which were popular, so it consisted several high lines of melody.  In response to this style women’s voices became popular.  At first women’s music was not much higher than the high male range.  Ornamentation became popular and as a result the soprano voice was fully developed by the end of the 16 th century.  o 14 th and 15 th century / Most music during this period had four lines- bassus, tenor, altus and descant. / The bass voice became prominent for singing the lowest part. / Descants were sung by young boys or by men in what was a new technique, called falsetto.  o Late renaissance / Madrigal singing became popular.  The style reflected lute and viol ensembles which were popular, so it consisted several high lines of melody.  In response to this style women’s voices became popular.  At first women’s music was not much higher than the high male range.  Ornamentation became popular and as a result the soprano voice was fully developed by the end of the 16 th century.

5.  o 17 th century  ｧ Female voices were not allowed for church music, so castratti (castrated men) were used to produce the fashionable new sound both in church and in opera (where the power of a grown male voice singing boyishly high notes was prized). / The profession of the opera singer arose.  o 18 th century  Virtuosity became highly valued in singing. / The profession of the singing teacher was developed. The style of bel canto (purity of tone and technique similar to playing a flute) became popular.  Music became higher and the popularity of sopranos increased (rivaling castratti).  o 17 th century  ｧ Female voices were not allowed for church music, so castratti (castrated men) were used to produce the fashionable new sound both in church and in opera (where the power of a grown male voice singing boyishly high notes was prized). / The profession of the opera singer arose.  o 18 th century  Virtuosity became highly valued in singing. / The profession of the singing teacher was developed. The style of bel canto (purity of tone and technique similar to playing a flute) became popular.  Music became higher and the popularity of sopranos increased (rivaling castratti).

6.  o 19 th century  Audience size increased and music halls became larger. / Projection, chest voice and using internal resonances became increasingly important. Because high male voice has the qualities naturally, the tenor voice became prominent.  o 19 th century  Audience size increased and music halls became larger. / Projection, chest voice and using internal resonances became increasingly important. Because high male voice has the qualities naturally, the tenor voice became prominent.

7. 20 th century / Although operatic singing did not change substantially, other forms of singer developed in radically different ways due to the invention of the microphone.  Changes in classical music include less eccentric and florid singers and greater gravity to norms (due to recording technology and the ability to compare singers), the trend of recreating historically accurate performances, and renewed interest in the soprano voice with a pure treble sound without heavy vibrato. / In popular singing the effect of the microphone is much more noticeable.  In the days of Gilbert and Sullivan, there wasn’t very much difference between popular and classical styles of singing.  Words were considered more important in popular music so operatic vocal techniques which distorted the vowel were toned down slightly, but otherwise it was similar.  Once electric amplification was developed popular music could focus on articulation instead of projection. 20 th century / Although operatic singing did not change substantially, other forms of singer developed in radically different ways due to the invention of the microphone.  Changes in classical music include less eccentric and florid singers and greater gravity to norms (due to recording technology and the ability to compare singers), the trend of recreating historically accurate performances, and renewed interest in the soprano voice with a pure treble sound without heavy vibrato. / In popular singing the effect of the microphone is much more noticeable.  In the days of Gilbert and Sullivan, there wasn’t very much difference between popular and classical styles of singing.  Words were considered more important in popular music so operatic vocal techniques which distorted the vowel were toned down slightly, but otherwise it was similar.  Once electric amplification was developed popular music could focus on articulation instead of projection.

8. Anatomy/ physiology  / The vocal cords are actually vocal folds which oscillate in two dimensions / The arytenoids cartilage and the muscles, to which the vocal folds are attached control the vocal folds.  The other physiological components important to the voice are the main articulators :tongue, lips, jaw, velum and larynx. / The velum controls the amount of sound and air allowed to enter the nasal passages.  Changing the larynx height essentially changes the length of the vocal tract giving the sound of a larger or smaller head. Raising the larynx creates a higher tone, while lowering it creates a lower tone. (Cook 107-8)  http://www.sloan- studios.com/pm/teachingtools.htm http://www.sloan- studios.com/pm/teachingtools.htm  / The vocal cords are actually vocal folds which oscillate in two dimensions / The arytenoids cartilage and the muscles, to which the vocal folds are attached control the vocal folds.  The other physiological components important to the voice are the main articulators :tongue, lips, jaw, velum and larynx. / The velum controls the amount of sound and air allowed to enter the nasal passages.  Changing the larynx height essentially changes the length of the vocal tract giving the sound of a larger or smaller head. Raising the larynx creates a higher tone, while lowering it creates a lower tone. (Cook 107-8)  http://www.sloan- studios.com/pm/teachingtools.htm http://www.sloan- studios.com/pm/teachingtools.htm

9. physics / How the vocal folds oscillate  The vocal folds act as an oscillator driven by breath pressure. High flow rate of the air rushing between the folds causes the pressure to drop and Vocal folds are sucked shut. This principle is called Bernoulli force (the same principle that allows air planes to fly).  Different types of voiced sound phonation qualities are related to how closely the folds are held together.  More tightly pressed together they are the brighter the sound produced, also in general the louder. (cook 108) / How the vocal folds oscillate  The vocal folds act as an oscillator driven by breath pressure. High flow rate of the air rushing between the folds causes the pressure to drop and Vocal folds are sucked shut. This principle is called Bernoulli force (the same principle that allows air planes to fly).  Different types of voiced sound phonation qualities are related to how closely the folds are held together.  More tightly pressed together they are the brighter the sound produced, also in general the louder. (cook 108)

10.  The sound waves of the voice  The basic wave emerging from the vocal folds has a spiky form, almost like a sequence of pulses. Due to this form, it can of excite a wide range of frequencies. / There is also a good deal of air turbulence associated with the sound of the voice. The basic wave passes through a number of tubes and cavities before it is radiated from an aperture (the mouth and lips). The cavities and aperture can vary in size and shape. Some of these changes are controllable such as the position of the tongue or the shape of the lips, while others are not controllable such as the amount of mucus in the cavities. / The sum of these changes results in the frequency pattern of the sound and can be described as the imposition of format characteristics.  The sound waves of the voice  The basic wave emerging from the vocal folds has a spiky form, almost like a sequence of pulses. Due to this form, it can of excite a wide range of frequencies. / There is also a good deal of air turbulence associated with the sound of the voice. The basic wave passes through a number of tubes and cavities before it is radiated from an aperture (the mouth and lips). The cavities and aperture can vary in size and shape. Some of these changes are controllable such as the position of the tongue or the shape of the lips, while others are not controllable such as the amount of mucus in the cavities. / The sum of these changes results in the frequency pattern of the sound and can be described as the imposition of format characteristics.

11. / Four types of formants / The somewhat fixed format that gives each person their individual recognizable voice (that may change with illness especially if the cavities are filled with mucus) / The format that deliberately changes the quality of the voice / The format that determines the nature of the vowel sounds  The format which changes the voice from the speaking voice to the singing voice (Taylor 174) / Four types of formants / The somewhat fixed format that gives each person their individual recognizable voice (that may change with illness especially if the cavities are filled with mucus) / The format that deliberately changes the quality of the voice / The format that determines the nature of the vowel sounds  The format which changes the voice from the speaking voice to the singing voice (Taylor 174)

12.  o The singing Format / Humans have reflex throat action that allows the voice to make a very loud noise when under stress by relaxing the muscles of the throat. / This reflex mechanism is one that singers are trained to control.  While to overtone frequencies of most untrained singers decline in frequency around 2000 Hz, trained opera singers’ voices peak between 2000 and 3000 Hz. This peak or the singing format allows gives the professionally trained voice a distinctive quality which the ear can pick up on, even over a full orchestra.  The position of the muscles required for this technique does distort vowels considerably.  It is essential for operatic styles of singing, but less suitable for popular 20 th century styles of music which are designed for microphones. / (Johnston 336)  o The singing Format / Humans have reflex throat action that allows the voice to make a very loud noise when under stress by relaxing the muscles of the throat. / This reflex mechanism is one that singers are trained to control.  While to overtone frequencies of most untrained singers decline in frequency around 2000 Hz, trained opera singers’ voices peak between 2000 and 3000 Hz. This peak or the singing format allows gives the professionally trained voice a distinctive quality which the ear can pick up on, even over a full orchestra.  The position of the muscles required for this technique does distort vowels considerably.  It is essential for operatic styles of singing, but less suitable for popular 20 th century styles of music which are designed for microphones. / (Johnston 336)

13. the science of vocal training (vocal pedagogy) techniques  The job of the voice teacher is to analyze vocal problems and design proper solutions for them.  Throughout history combination of science and traditional knowledge has been used in professional voice instruction / When describing alterations necessary to achieve the desired solution to a vocal problem teachers uses mechanistic explanations (based on scientific fact) and imagery (based on psychology, aesthetics and experience). / For example a teacher may explain a certain tonal concept by saying “throw the sound out the top of your head”. This image is a way describing how moving certain muscles should feel. From a physiological perspective this statement is complete nonsense, but is makes psychological sense to many voice teachers and students because it describes the way the body feels. (Emerich 735). On the other hand voice teachers often refer to actual physiology such as reminding singers to breath from the abdominal muscles.  The job of the voice teacher is to analyze vocal problems and design proper solutions for them.  Throughout history combination of science and traditional knowledge has been used in professional voice instruction / When describing alterations necessary to achieve the desired solution to a vocal problem teachers uses mechanistic explanations (based on scientific fact) and imagery (based on psychology, aesthetics and experience). / For example a teacher may explain a certain tonal concept by saying “throw the sound out the top of your head”. This image is a way describing how moving certain muscles should feel. From a physiological perspective this statement is complete nonsense, but is makes psychological sense to many voice teachers and students because it describes the way the body feels. (Emerich 735). On the other hand voice teachers often refer to actual physiology such as reminding singers to breath from the abdominal muscles.

14. Bibliography Cook, Perry R. “Voice Physics and Neurology”. Music, Cognition and Computerized Sound: An Introduction To Psychoacoustics. Etd. Perry R. Cook. Emerich, Kate A., et al. “The Singing Voice Specialist”. Professional Voice: The Science and Art of Clinical Care. Second Ed. Etd. Robert T. Stalaloff. Johnston, Ian. Measured Tones: The Interplay of Physics and Music. Second Ed. Philadelphia: Institute of Physics Publishing, 2002. Taylor, Charles. Exploring Music: The Science and Technology of Tones and Tunes. Philadelphia: Institute of Physics Publishing, 1994. Cook, Perry R. “Voice Physics and Neurology”. Music, Cognition and Computerized Sound: An Introduction To Psychoacoustics. Etd. Perry R. Cook. Emerich, Kate A., et al. “The Singing Voice Specialist”. Professional Voice: The Science and Art of Clinical Care. Second Ed. Etd. Robert T. Stalaloff. Johnston, Ian. Measured Tones: The Interplay of Physics and Music. Second Ed. Philadelphia: Institute of Physics Publishing, 2002. Taylor, Charles. Exploring Music: The Science and Technology of Tones and Tunes. Philadelphia: Institute of Physics Publishing, 1994.