Abstract
The understanding of the singing voice of children and adolescents is still
in its infancy, and there is a lack of a general developmental model of the
young voice, in particular with relation to young singers. Available
research has largely also been on “classically” trained voices, and
contemporary commercial music (CCM) including pop/rock and musical
theatre has largely been ignored. This study examined laryngographic
and acoustic analysis of 10 young female singers, aged 14-17, training
using a system which includes both classical and CCM techniques,
particularly musical theatre (MT). Singers were found to have generally
higher vocal fold closed quotient (CQ) at most pitches when singing in an
MT style than in a classical style. The spectral slope was also found to be
generally shallower for MT singing than classical, particularly over F0-
F5
in its infancy, and there is a lack of a general developmental model of the
young voice, in particular with relation to young singers. Available
research has largely also been on “classically” trained voices, and
contemporary commercial music (CCM) including pop/rock and musical
theatre has largely been ignored. This study examined laryngographic
and acoustic analysis of 10 young female singers, aged 14-17, training
using a system which includes both classical and CCM techniques,
particularly musical theatre (MT). Singers were found to have generally
higher vocal fold closed quotient (CQ) at most pitches when singing in an
MT style than in a classical style. The spectral slope was also found to be
generally shallower for MT singing than classical, particularly over F0-
F5
| Original language | English |
|---|---|
| Title of host publication | International Syposium of Performance Science |
| Editors | Aaron Williamon, Danielle Coimbra |
| Publisher | Association Europeen des Conservatoires |
| Publication status | Published - Oct 2007 |