thesis vocal education

"Although the intervals are wrong relative to the natural harmonics [the multiples of the fundamental frequency or single vibration] , this temperament is easily borne by the ear.

This comes from the fact that they are all false in the same way and that this system has been adopted for instrumental tuning for a few centuries already (since about 1750)."

The tempered scale is suitable for most keyed or marked instruments, but the voice will sometimes seek to rebalance or play its score differently as was determined for opera singers when confronted with a Schubert score.

In effect, the voice produces sounds continuously and allows for singing intervals below the semitone.

Finally, what is right and what is wrong?

You would have to listen again to that friend who sings "Disenchanted" with all his heart: would he be more right than expected? The majority of people sing in tune, and in-tune disorders affect 10-20% of the population.

Tuning can be assessed by a so-called subjective method, which involves humans: dysphonic voice experts ( logopedists, speech pathologists ), singing teachers, non-experts.

These can be influenced by multiple elements relating to the musician, the performance, and their own personal biases.

Vocal pitch can also be assessed by a so-called objective method, which must be calibrated (and sometimes rectified) to the level of pitch errors to be quantified.

Pitch disorders

Four types of pitch disorders are listed:

The mechanics of singing

"The respiratory system provides aerodynamic energy, consisting of the pressure and flow of subglottic air (inside the trachea, under the larynx). As it passes through the laryngeal level, the aerodynamic energy is transformed into mechanical and acoustic energy and thus determines the fundamental frequency." "The sound wave then passes through the vocal tract. As with speech, the singer has the ability to modify the shape of this duct, which consists of the pharynx, oral, nasal, and labial cavities." "A balance between the different physical forces (aerodynamic, biomechanical, and acoustic) is necessary to sing. These parameters will impact the pitch, sound pressure level, and timbre of the sound."

The mechanical part can be impressive to experience. I experienced this with musicologist, author and singer Isabelle Poinloup , during an exploration of vocal abilities. I was lifted off the ground, my abdomen pressed like a bellows, as I serenely performed breathing and sound exercises.

The concentration, confidence, surprise, and mechanical action produced a powerful lyrical note far higher than I ever imagined I could produce.

The seven studies

In English in the thesis, they are synthesized in French in the discussion and clarify this issue of vocal accuracy in melodic context as a function of actors, measurement modalities, and contexts.

Image source: DawnyellReese from Pixabay.

To be read:

Pauline Larrouy-Maestri, Assessment of Vocal Accuracy in Melodic Context . Psychological and Educational Sciences. University of Liege, 2013.

Thesis available at: https://orbi.uliege.be/handle/2268/156426

References:

Isabelle Poinloup, singing lessons, "fed up with singing off key?" : https://www.youtube.com/watch?v=Md1KD7MzSBg

Isabelle Poinloup, singing class, "free your voice, discover your larynx" : https://www.youtube.com/watch?v=_z4PbqbEVho

Note taking

Author Aude Chartier Vallart Contact the author

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