PEVOC 10 (Pan-European Voice Conference)
Prague, Czeck Republic, August, 2013
‘Analysis of the mechanism of effects such as Distortion, Growl, Grunt and Rattle used in a healthy way by 18 professional singers’ Cathrine Sadolin
Abstract:
Analysis of the mechanism of effects such as Distortion, Growl, Grunt and Rattle used in a healthy way by 18 professional singers.
Intentional effects such as Distortion, Growl, Grunt and Rattle are sounds commonly used in Rock, Folk, Pop, Jazz and other music genres for effect adding a grating noise to the quality of the singing voice. There is debate as to whether these voice qualities are damaging to the voice and vocal folds.
Objective: To understand the mechanism of production of Intentional effects of Distortion, Growl, Grunt and Rattle during singing.
Methods: Eighteen trained singing teachers in the Complete Vocal Technique pedagogic method of singing were examined using digital videolaryngostroboscopy while producing Intentional effects during singing. The video images and synchronized electrolaryngograph (ELG) waveforms were assessed by two raters. The laryngeal structures involved in the sound production and the regularity of the ELG waveforms were documented.
Results: The number of subjects able to produce analysable results are indicated in parenthesis. During Intentional Distortion the main contributing factor to the sound quality was the false folds (n=15). During Intentional Growl the main contributing factor to the sound quality was the arytenoids vibrating against the epiglottis. (n=15). During Intentional Grunt the main contributing factors to the sound quality were the whole of the supraglottic structures associated with large amplitude vibration of the vocal folds. (n=10). During Intentional Rattle the main contributing factor to the sound quality was vibrations at the arytenoid cartilages. (n=5).
The ELG waveform analysis confirmed that the fundamental frequency of vibration of the vocal folds was maintained during the various effects but the shape and complexity of the waveform changed during the periods of Intentional effect.
Conclusion: Intentional effects such as Distortion, Growl, Grunt and Rattle should be considered as an additional sound quality to that from vocal fold vibration. They can be added to a sung tone at will in appropriately trained singers in a healthy manner for vocal effect.
PEVOC 10 (Pan-European Voice Conference)
Prague, Czeck Republic, August, 2013
‘What descriptors do singing teachers use to describe sound examples?‘ Julian McGlashan
Abstract:
What descriptors do singing teachers use to describe sound examples?
Aim: To assess the range of terms used by singing teachers to describe sound samples from different vocal genres
Method: 36 singing teachers from 12 countries from a range of different teaching environments (e.g. Conservatory, private) were recruited to take part in the study. They were asked to listen to 11 short sound samples of different contemporary and classical songs. They were asked to describe each of the sound samples in terms that could be used pedagogically.
Results: As an example the first sound sample consisted of 12 elements: “Don’t dream of wo-men ’cause they on-ly bring you down”. Eighty different words were used to describe the various elements reflecting a range of different approaches, training backgrounds, methods and personal choice. The terms used related to Register (‘Chest’, ‘Head’, ‘Mix’ etc) terms used in a pedagogic method such as Complete Vocal Technique (CVT) , Estill Vocal Training (‘curbing’, ’tilted thyroid cartilage’ etc), descriptors of activity of various anatomical structures (‘high larynx position’, ‘narrowed vocal tract’) or physiological activities (‘high subglottic pressure’), voice quality (‘shouted’, ‘pressed’, ‘vibrato’), emotional response (‘angry’, ‘dirty’) or simply a comment (‘projected voice’, ‘a no-go in the classical’, ‘ could be unhealthy if used too much’). Ten CVT singing teachers used terms more consistently and warrants further study but other terms such as ‘Speech quality’, ‘Chest’ and ‘Projected voice or sound’ were used with some frequency although at times conflicting terminology was used for the same sound element e.g. ‘Chest’ and ‘Head’.
Conclusion: Singing teachers use a variety of terms to describe the singing voice which seems based on previous training and experience. However there appears to be a lack of clear definition of many of these terms. More focus in training in pedagogic methods which define specific vocal qualities that can be applied across genres may help in communication between singer teachers, singers and other professionals.
PEVOC 10 (Pan-European Voice Conference)
Prague, Czeck Republic, August, 2013
‘The advantages of a common accepted terminology among voice teachers‘
Abstract:
The advantages of a common accepted terminology among voice teachers
By taking the stand, that the lack of a common accepted terminology among singing teachers presents a major obstacle in the development of singing- and speech techniques, this presentation is intended as a contribution to the voice terminology debate. Many of the terms widely used today have different definitions depending on who are using them, or the definitions are very vague or not there at all. This problem is often ignored, or explained as a cultural necessity caused by the difference between musical genres. But can we not have a clear communication and still keep the diversity in musical genres? The presentation includes examples of what is meant by ’unclear terminology’, as well as examples from Complete Vocal Institute where a strictly defined terminology makes it possible for teachers to pass on detailed information about a singers technical status, not unlike in a hospitals patient report. Voice professionals meet at conferences like PEVOC. This indicates that we want to learn from each other so we can help singers better. Why then do we accept blurred communication, and how clear can it become?
PEVOC 10 (Pan-European Voice Conference)
Prague, Czeck Republic, August, 2013
‘Can singing teachers trained in a pedagogic method (Complete Vocal Technique) reliably identify elements of sung sound examples?’ Cathrine Sadolin & Julian McGlashan Poster
Abstract:
Can singing teachers trained in a pedagogic method (Complete Vocal Technique) reliably identify elements of sung sound examples?
Aim: To test the reliability of the Complete Vocal Technique (CVT)1 pedagogic method in identifying sound elements from sound samples from different vocal genres
Method: 22 singing teachers with a median of 4.5yrs (range 2-25yrs) teaching experience were asked to listen to 11 short sound samples of different contemporary and classical songs. They were asked to describe each the sounds in terms that could be used in pedagogy to describe each element of the song. The results were compared to compared to those agreed by consensus of an expert panel of CVT teachers.
Results: The first sound sample, for example, consisted of 12 elements with the last identified as having 3 sound qualities:
PEVOC 10 (Pan-European Voice Conference)
Prague, Czeck Republic, August, 2013
‘How to avoid a teachers burn out, and at the same time improve the students learning process. Placing of responsibility in singing tuition’ Lise Liv Skovgaard
Abstract:
How to avoid a teachers burn out, and at the same time improve the students learning process. Placing of responsibility in singing tuition.
Too many teachers suffer from stress and burn out. The pedagogy of Complete Vocal Technique emphasizes a specific focus on responsibility placing in a learning process that works for the benefit of the singer as well as the teacher.
The theoretical perspectives ”The Reflective Practitioner: How Professionals Think in Action” (Donald A. Schön 1983), ”Truth and Method” (Hans-Georg Gadamer 1960) and ”Situated learning” (Jean Lave and Etienne Wenger 1991) provides a philosophy and method for teaching, where teachers are the facilitator of the students processes, providing tools and knowledge for the students to pick up.
An emphasis on reflection in action provides the possibility of being aware of own prejudice. A prejudice that tends to affect the process of the student, and this to the extend that the teachers often are working harder than the students. The learning process is then imbalanced, the students are learning less and the teachers are working more.
Inspired by the philosophical hermeneutics we work on understanding as an active process, which includes a specific focus on the dialogue in the communication with the singing students. A dialogue where there is a responsibility exchange. The ideal is for the singing teachers to get the experience to be responsible for facilitating the learning and for the singers to get the experience to take responsibility in the learning process. This has, as we experience it, a great impact on avoiding a teachers potential burn out as well as a positive impact on the singers learning process and motivation in singing tuition.
PEVOC 10 (Pan-European Voice Conference)
Prague, Czeck Republic, August, 2013
‘Effective and healthy practice methods for singers’ Annika Holmberg workshop
Abstract:
Effective and healthy practice methods for singers
Voice training generally includes vocal exercises that shall be continously repeated by the voice student. The goal is often a gradual and general improvement of the voice.
In the case a voice student would be left without guidance, or has not been properly instructed on how to perform the exercise in a healthy manner and in correlation to the intended purpose – practicing efforts can be in vain or even have opposite to the intended effect. Continuous repetition of incorrectly performed vocal exercises can not only cause voice damage, but also thoroughly train in incorrect vocal technique.
This workshop focuses on training of vocal technique for singing but the content also applies for speech. It stresses the importance of proper and thorough instructions for both guided and unguided practice, of designing exercises that achieve specifically intended purposes, and the need of defined strategies for problem solving along the way. Further it goes through methods and strategies for making voice training constructive, healthy and effective.
The workshop will describe and demonstrate the methods of voice training according to Complete Vocal Technique (C. Sadolin) as well as some findings within the field of Psychology and Sports Psychology.
PEVOC 10 (Pan-European Voice Conference)
Prague, Czeck Republic, August, 2013
‘Artistry – What is it and How to Teach It’ Ville Laksonen workshop
Abstract:
Artistry – What Is It and How to Teach It?
The focus of teaching singing is often in technique, style and performance. They are all important and practical parts of singing. They are also subjects that are relatively easy to describe by words. However, artistry and artistic thinking are more difficult to define and thus perhaps more difficult to teach. What does artistry mean in singing and is it different from musicianship?
This workshop will try to answer this question. It will present artistry and artistic thinking from different perspectives based on music pedagogy, philosophy and interviews of both vocal artists and voice teachers. Some specific methods how to make artistic thinking integral part of teaching will be presented. We will also examine why teaching can sometimes slow down or prevent singer’s artistic growth and how to avoid this.