Quantifying Subjective and Objective Measures of Singing After Different Warm-Up Durations

Vocal Fatigue Experiences and Mitigation Strategies in the Sacred Harp Singing Community

OBJECTIVES

Sacred Harp singers sing at a high volume for sustained periods of time without collective warm-up or cool-down exercises, ostensibly putting them at elevated risk for vocal fatigue (VF) and associated vocal pathologies. Participants are also likely to lack formal vocal training. The purpose of this study was to (1) assess singers' experiences with VF, (2) document singers' strategies for mitigating VF, and (3) determine whether vocal training was associated with decreased vocal difficulties.

STUDY DESIGN

Self-reporting via online questionnaire containing quantitative and qualitative items.

METHODS

This study employed an online questionnaire that combined demographic items, open-ended questions, and the Evaluation of the Ability to Sing Easily (EASE). Participants were recruited at one in-person event and via social media and a mailing list.

RESULTS

This study returned 134 valid responses. Singers with formal choral experience scored lower on the EASE and two subscales, but length of experience had no impact. There were no correlations between vocal training and EASE scores. Women scored higher on the EASE than men and nonbinary individuals, while age, length of experience with Sacred Harp singing, and frequency of attendance at annual singing events were all negatively correlated with EASE score. Singers reported a wide range of mitigation strategies, most of which are unique to the Sacred Harp context.

CONCLUSIONS

Sacred Harp singers do not appear to struggle more with VF than other populations of singers. However, a few characteristics of their practice put them at risk, and many singers would benefit from professional guidance concerning vocal health.

It Sounds like It Feels: Preliminary Exploration of an Aeroacoustic Diagnostic Protocol for Singers

To date, no established protocol exists for measuring functional voice changes in singers with subclinical singing-voice complaints. Hence, these may go undiagnosed until they progress into greater severity. This exploratory study sought to (1) determine which scale items in the self-perceptual Evaluation of Ability to Sing Easily (EASE) are associated with instrumental voice measures, and (2) construct as proof-of-concept an instrumental index related to singers' perceptions of their vocal function and health status. Eighteen classical singers were acoustically recorded in a controlled environment singing an /a/ vowel using soft phonation. Aerodynamic data were collected during a softly sung /papapapapapapa/ task with the KayPENTAX Phonatory Aerodynamic System. Using multi and univariate linear regression techniques, CPPS, vibrato jitter, vibrato shimmer, and an efficiency ratio (SPL/PSub) were included in a significant model (p < 0.001) explaining 62.4% of variance in participants' composite scores of three scale items related to vocal fatigue. The instrumental index showed a significant association (p = 0.001) with the EASE vocal fatigue subscale overall. Findings illustrate that an aeroacoustic instrumental index may be useful for monitoring functional changes in the singing voice as part of a multidimensional diagnostic approach to preventative and rehabilitative voice healthcare for professional singing-voice users.

Changes in Spoken and Sung Productions Following Adaptation to Pitch-shifted Auditory Feedback

OBJECTIVE

Using voice to speak or to sing is made possible by remarkably complex sensorimotor processes. Like any other sensorimotor system, the speech motor controller guides its actions with maximum performance at minimum cost, using available sources of information, among which, auditory feedback plays a major role. Manipulation of this feedback forces the speech monitoring system to refine its expectations for further actions. The present study hypothesizes that the duration of this refinement and the weight applied on different feedbacks loops would depend on the intended sounds to be produced, namely reading aloud versus singing.

MATERIAL AND METHODS

We asked participants to sing "Happy Birthday" and read a paragraph of Harry Potter before and after experiencing pitch-shifted feedback. A detailed fundamental frequency (F0) analysis was conducted for each note in the song and each segment in the paragraph (at the level of a sentence, a word, or a vowel) to determine whether some aspects of F0 production changed in response to the pitch perturbations experienced during the adaptation paradigm.

RESULTS

Our results showed that changes in the degree of F0-drift across the song or the paragraph was the metric that was the most consistent with a carry-over effect of adaptation, and in this regard, reading new material was more influenced by recent remapping than singing.

CONCLUSION

The motor commands used by (normally-hearing) speakers are malleable via altered-feedback paradigms, perhaps more so when reading aloud than when singing. But these effects are not revealed through simple indicators such as an overall change in mean F0 or F0 range, but rather through subtle metrics, such as a drift of the voice pitch across the recordings.