1. The vocal score profile/vocal range profile rate and APM in artistic voice evaluation: application tested on opera and musical singers An evaluation of voice suitability and vocal fatigue
Dr. Nico Paolo Paolillo
ENT dep. Mandic Hospital - Milan
Phonitatrician Teatro alla Scala of Milan
Dr Franco Fussi
Phoniatric Centre of Ravenna
Phoniatrician Teatro Comunale of Bologna

2. Vocal fatigue and glottal damage risks
Wrong repertoire
Inadequate technical qualities
Inadequate work planning
Phonatory behaviour (total phonation time during rehearsals, performances, break-times, teaching, private life etc.)
Lifestyle
Working environment
It’s necessary to calculate the right vocal cost
Dr. Nico Paolo Paolillo – Dr. Franco Fussi

3. WATH THE SINGERS FEEL ABOUT CHARACTER FEATURES
Interview before analysis  Assessing accordance between subjective feeling and objective analysis
Interview after analysis  Assessing the reliability of a predictive evaluation
Relationship between the patient's medical history (any vocal desease or phonosurgery) and results of the analysis
Dr. Nico Paolo Paolillo – Dr. Franco Fussi

4. VOCAL SCORE PROFILE COUNT OF NOTES FOR EACH SEMITONE
Donna Anna
Donna Elvira A# 24 11 A 76 G# 39 40 G
296
185 F#
148 99 F
379
187 E
337
210 D#
208
263 D
492
416 C#
120
177 C4
377
362 B
135
196
294
194
202 31 80
172 45 29
129 9 27 10 15 4 2 C3 3 B2
TOTAL
3219
3144
VOCAL SCORE PROFILE
COUNT OF NOTES FOR EACH SEMITONE
statistic method for vocal score (partitura) semeiotic
High Notes
Passage Notes
Middle Notes
Low Notes

5. Through this kind of analysis different parameters can be detected
Comparison regarding ranges percentage

6. VOCAL SCORE PROFILE Highlights the vocal role various musical features through histogram graphics

7. VOICE RANGE PROFILE (VRP)
VRP points out dynamic and frequency range of singers voice
Passage

8. DYNAMIC AGILITY CURVE
Dynamic Agility is the value of differential between forte and piano calculated for each tone.
Passage

9. COMPARATIVE EVALUATION VOCAL SCORE PROFILE VS DYNAMIC AGILITY CURVE (P/P rate  Pariturogram/Phonetogram rate)
Passage

10. Passage
Donna Anna st Act
Passage
Donna Anna nd Act

11. Donna Elvira from “Don Giovanni” W.A. Mozart – Full Score
Passage

12. Accordance between subjective singers’ feeling and objective analysis
P/P Rate is a reliable method to identify a right repertoire and to predict performance risks for vocal effort or glottal damage
In low and high ranges a gradual dynamic agility reduction is acceptable (not for coloraturas  restricted range of dynamic all range long)
In low female voices it’s necessary always to evaluate both vocal registers passages.
Accordance between subjective singers’ feeling and objective analysis
Possibility and reliability of a predictive evaluation
Relationship between the patient's medical history, like any vocal desease (even if unknown) or phonosurgery, and analysis results.
Dr. Nico Paolo Paolillo – Dr. Franco Fussi

13. Singer with unsuited dynamic agility to a specific role
Can all the same excel in performing it
HIGHER VOCAL COST
Dr. Nico Paolo Paolillo – Dr. Franco Fussi

14. Vocal Dosimetry in Teatro alla Scala in Opera soloist singers and in Musical soloist singers
Dr. Nico Paolo Paolillo – Teatro alla Scala in Milan
Dr. Franco Fussi – teatro Comunale in Bologna 14

15. APM during live performances on stage (Model 3200 APM)
Phonatory behaviours before, during and after performances
Absolute index for vocal fatigue or vocal recovery???
Possible fatigue threshold vs recovery threshold???
Dr. Nico Paolo Paolillo – Dr. Franco Fussi

16. Preliminary Evaluation
Anamnesis
Tonal audiometry
Videolaryngostroboscopy
What singers feel about character features (fatiguing and resting moments)
Dr. Nico Paolo Paolillo – Dr. Franco Fussi

17. “Aida” vs “I due Foscari” tenor role at Teatro alla Scala in Milan
Dr. Nico Paolo Paolillo – Dr. Franco Fussi

18. Radames – 1st Tenor – Complete Performance

19. Aria “CELESTE AIDA” – 1st Act

20. Speech and soft fonation
Break between 2nd and 3rd Act + non singing part during beginning of 3rd Act
Speech and soft fonation

21. Jacopo Foscari – 2nd Tenor – Warm-up

22. “Brezza del suol natio… Dal più remoto esilio” Aria + Cabaletta – 1st Act

23. BEHAVIOURAL HABITS AND RESOURCE MANAGEMENT
RADAMES
BEHAVIOURAL HABITS
AND
RESOURCE MANAGEMENT
JACOPO FOSCARI

24. SUCH AS A “REAL” VOCAL SCORE PROFILE
RADAMES
SUCH AS A “REAL” VOCAL SCORE PROFILE
JACOPO FOSCARI

25. Radames
1st Act
Jacopo Foscari
1st Act

26. SUCH AS AN “ON STAGE” RELATIVE DINAMIC AGILITY
RADAMES
SUCH AS AN “ON STAGE” RELATIVE DINAMIC AGILITY
JACOPO FOSCARI

27. VOCAL, TECHNICAL AND BEHAVIOURAL FEATURES
1st tenor - RADAMES
VOCAL, TECHNICAL AND BEHAVIOURAL FEATURES
Speech and soft fonation
2nd tenor - JACOPO FOSCARI
Speech and soft fonation
T. Carroll, M. Abaza et al. – 2006

28. Difficulties APM size VS acting, dancing and costumes
Singers’ helpfulness
Calibration in singers who use both classical and modern technique
Not much literature on APM in singers
Dr. Nico Paolo Paolillo – Dr. Franco Fussi

29. Total Phonation Time a Week
Liric soloist singer
Greater likelihood of damage from acute fatigue
Musical soloist singers
Greater likelihood of damage from chronic fatigue
2-3 performances a week + rehearsals (total sung phonation time less than 5 hours a week)
8-9 performances a week + rehearsals + often hard bodily fatigue in dancers (total sung phonation time more than 10 hours a week)
Dr. Nico Paolo Paolillo – Dr. Franco Fussi

30. Technical and behavioural measures Fatigue and damage risk reduction
Hard Wearability
Discomfort
Higher availability of numeric data from APM
Possibility to “reshape” recorded data
(cut, paste, copy etc.)
Technical and behavioural measures
Fatigue and damage risk reduction
Do technique and voice features influence dose parameters???  the same role from different singers
More studies to establish standard fatigue and recovery thresholds and ranges (differences between males and females and between different vocal classes???)  Recovery index???
Future APM improvement

31. Thank you for attention