Physiological characteristics of the supported singing voice. A preliminary study

Breathing with the Conductor? A Prospective, Quasi-Experimental Exploration of Breathing Habits in Choral Singers

OBJECTIVE

The breathing technique is a determining factor for the sound quality of the singers' vocal production and thus crucial for the choral sound. The aim of this study was to examine choral singers' awareness of breathing techniques and habits while singing and to identify potential correlations between the breathing technique and the preparatory gestures of the conductor.

METHODS

In our prospective, quasi-experimental study, 720 choral singers answered a 25-item anonymous online survey which focused on demographic information, musical and choral experience, information on choir (size, type, repertoire) and conductor (age, gender, level of expertise). As the central issue we examined the subjects' general knowledge of breathing techniques and habits and their own use thereof in choral practice. Finally, subjects were asked to watch videos showing two different preparatory conducting gestures and to assess the meaning of these gestures.

RESULTS

The results of the study show that the majority of choral singers (68.1%) inhale not before and not after, but during the conductor's preparatory gesture. The most well-known (94.7%) and allegedly most frequently (81.8%) used type of inhalation is abdominal breathing. Six times more singers associate abdominal breathing with an outward gesture rather than with the more frequently occurring inward-upward gesture.

CONCLUSION

The conducting literature does not discriminate between out- and inward preparatory gestures and describe them as equivalent. However, according to our data, a vast majority of singers assign these gestures to different types of inhalation which influences singing technique and sound quality. This might lead to ambiguous action-reaction expectations from singers and conductors in rehearsals and concerts.

Differences of respiratory kinematics in female and male singers - A comparative study using dynamic magnetic resonance imaging

Breath control is an important factor for singing voice production, but pedagogic descriptions of how a beneficial movement pattern should be performed vary widely and the underlying physiological processes are not understood in detail. Differences in respiratory movements during singing might be related to the sex of the singer. To study sex-related differences in respiratory kinematics during phonation, 12 singers (six male and six female) trained in the Western classical singing tradition were imaged with dynamic magnetic resonance imaging. Singers were asked to sustain phonation at five different pitches and loudness conditions, and cross-sectional images of the lung were acquired. In each dynamic image frame the distances between anatomical landmarks were measured to quantify the movements of the respiratory apparatus. No major difference between male and female singers was found for the general respiratory kinematics of the thorax and the diaphragm during sustained phonation. However when compared to sole breathing, male singers significantly increased their thoracic movements for singing. This behavior could not be observed in female singers. The presented data support the hypothesis that professional singers follow sex-specific breathing strategies. This finding may be important in a pedagogical context where the biological sex of singer and student differ and should be further investigated in a larger cohort.

Towards a Singing Voice Multi-Sensor Analysis Tool: System Design, and Assessment Based on Vocal Breathiness

Singing voice is a human quality that requires the precise coordination of numerous kinetic functions and results in a perceptually variable auditory outcome. The use of multi-sensor systems can facilitate the study of correlations between the vocal mechanism kinetic functions and the voice output. This is directly relevant to vocal education, rehabilitation, and prevention of vocal health issues in educators; professionals; and students of singing, music, and acting. In this work, we present the initial design of a modular multi-sensor system for singing voice analysis, and describe its first assessment experiment on the ‘vocal breathiness’ qualitative characteristic. A system case study with two professional singers was conducted, utilizing signals from four sensors. Participants sung a protocol of vocal trials in various degrees of intended vocal breathiness. Their (i) vocal output, (ii) phonatory function, and (iii) respiratory behavior-per-condition were recorded through a condenser microphone (CM), an Electroglottograph (EGG), and thoracic and abdominal respiratory effort transducers (RET), respectively. Participants’ individual respiratory management strategies were studied through qualitative analysis of RET data. Microphone audio samples breathiness degree was rated perceptually, and correlation analysis was performed between sample ratings and parameters extracted from CM and EGG data. Smoothed Cepstral Peak Prominence (CPPS) and vocal folds’ Open Quotient (OQ), as computed with the Howard method (HOQ), demonstrated the higher correlation coefficients, when analyzed individually. DECOM method-computed OQ (DOQ) was also examined. Interestingly, the correlation coefficient of pitch difference between estimates from CM and EGG signals appeared to be (based on the Pearson correlation coefficient) statistically insignificant (a result that warrants investigation in larger populations). The study of multi-variate models revealed even higher correlation coefficients. Models studied were the Acoustic Breathiness Index (ABI) and the proposed multiple regression model CDH (CPPS, DOQ, and HOQ), which was attempted in order to combine analysis results from microphone and EGG signals. The model combination of ABI and the proposed CDH appeared to yield the highest correlation with perceptual breathiness ratings. Study results suggest potential for the use of a completed system version in vocal pedagogy and research, as the case study indicated system practicality, a number of pertinent correlations, and introduced topics with further research possibilities.

Are There Differences in Abdominal Muscle Function in Female Singers With and Without Voice Disorders? - An Observational Study

OBJECTIVES

The purpose of this study was to determine the motor function of the abdominal muscles in singers with and without functional voice disorders and to examine them for possible differences. Additionally, the breathing behaviour and posture control was investigated.

STUDY DESIGN

Observational study.

METHODS

Female subjects (n = 20) with differing levels of professional competence were used to provide the data for analysis. By using the Singing Voice Handicap Index (SVHI) the grade of dysphonia could be measured, and the subjects were organized in groups. The change of muscle thickness of the M. transversus abdominis (TVA) and the M. obliquus internus abdominis (OIA) during different singing tasks was measured by using ultrasound. The subjects were then asked to perform the Abdominal Hollowing Test (AHT) with the STABILIZER. Finally, the subjects were all filmed while singing. The videos recordings of the singing sessions were analysed by an independent clinical expert regarding breathing and secondary motor activities (SMA). For the statistical analysis, the Mann-Whitney-U Test and the Chi-Square-Test was mainly used.

RESULTS

The results showed a significantly thinner TVA in the group with dysphonia in comparison to the group without dysphonia. Ultrasound measurements showed significantly higher changes of muscle thickness of the TVA during singing tasks in the group with dysphonia. Regarding the AHT there was a significant difference between the two groups. The group with dysphonia was not able to increase the pressure by 15mmHg. Furthermore, the healthy subjects demonstrated abdominal breathing, while the group with dysphonia present with thoracic breathing. Additionally, it was noted that the subjects with dysphonia showed a higher level of associated movements especially at and/or on the lumbar spine, cervical spine and the left arm and shoulder.

CONCLUSION

Differences in TVA-recruitment, breathing behaviour and secondary motor activities while singing were found. This study sparks new ideas for neuromusculoskeletal assessments and therapy.

La voz en los cantantes líricos. Protocolo para su valoración clínica y acústica

El objetivo de esta investigación es elaborar un protocolo clínico y acústico con diversas técnicas para evaluar la voz de los cantantes líricos. Se seleccionaron 18 cantantes líricos, que se consideraban sanos, clasificados como soprano, mezzosoprano, contralto, tenor, barítono y bajo. A todos se les realizó la anamnesis, el S-VHI y una serie de estudios aerodinámicos (TMF, índice s/e y cociente de fonación) y acústicos (F0, intensidad, HNR, Jitter, Shimmer, espectrograma, fonetograma y LTAS), así como una exploración clínica e instrumental estroboscópica. El 33% eran fumadores, siendo este hábito más frecuente en hombres. El S-VHI detectó 20 puntos sobre 144 posibles, puntuación relativamente alta de su grado de incapacidad. Casi la mitad obtuvieron valores fuera del rango de normalidad en el TMF, índice s/e y cociente de fonación. Las características acústicas de su voz y los rangos vocales y dinámicos estaban, en la mayoría de los casos, dentro de la normalidad. En el 55% se observó algún tipo de patología laríngea. Los cantantes deberían evitar el uso del tabaco, así como hacer revisiones frecuentes para detectar patologías laríngeas que pasan desapercibidas. Los valores aerodinámicos y acústicos muestran alteraciones con respecto a los valores normales de referencia. La presencia de vibrato y formante del cantante puede verse en el espectrograma y el LAST, así como el rango dinámico y vocal con el fonetograma. El uso del protocolo clínico y acústico proporciona importante información que completa la obtenida por el terapeuta vocal o el profesor de técnica vocal en el análisis perceptual de la voz profesional.

Effect of Respiratory Muscle Training on Pitch Range and Sound Duration in Brass Instrument Players and Singers

OBJECTIVE

Effective use of respiratory organs is important for musicians. Therefore, the impact of Respiratory Muscle Training (RMT) on phonation is open to research. The aim of this study was to investigate the measurable effects of RMT on blowing in brass instrumental and on voice performance in singers.

METHODS

Thirty musicians were recruited and separated into a four groups. The brass instrumental and singers groups were further subdivided into control and RMT groups for a 4 week RMT intervention giving a total four groups: singers experimental (SE; n:10), singers control (SC; n:10), brass instrument players experimental (BIPE; n:5), and BIPC (n:5). The groups selected from the musicians of Samsun State Opera and Ballet Directorate and Samsun Metropolitan Municipality Band Team participated in the study.

RESULTS

After 4 weeks of RMT application in the study groups, significant increase in all parameters except Forced vital capacity/Forced expiratory volume in 1 second was observed in the values of pulmonary function tests and respiratory muscle strength in subjects with SE and BIPE (P < 0.05). The most significant results of this study are that in addition to changes in the duration of phonation (SE 36%), high-pitch (SE 79%, BIPE 27%) and low-pitch sounds (BIPE 61% and SE 42%), the SE (15%) and BIPE (3%) groups reached higher pitches in the high-pitch notes.

CONCLUSIONS

It was determined that performance of the highest and lowest pitch sounds within a vocal register in a single breath and phonation times can be improved by RMT.

The Role of the Pelvic Floor in Respiration: A Multidisciplinary Literature Review

OBJECTIVE

To conduct an interdisciplinary literature review on the function of the pelvic floor musculature during respiration and its role in phonation, particularly singing.

STUDY DESIGN

This is a literature review.

METHODS

A literature review was conducted using three electronic databases: PubMed, Scopus, and Google Scholar. An index search was also performed for the NATS Journal/Journal of Singing utilizing the keywords from the original search, as these articles did not appear in the original search. Peer-reviewed articles from 1985 to 2017 were gathered on the respiratory musculature and/or support mechanisms for phonation (anatomy and physiology). Articles that pertained to the muscular function of the respiratory system in breathing and/or phonation were utilized in the review. Eighty-five articles were included in this review.

RESULTS

Breathing and support strategies were variable and nonspecific in much of the singing voice literature. The voice science literature was a rich source of articles written about breathing and support for singing. Multiple studies looked at musculature utilized in respiration and breath support and subglottal pressure generation for muscular support. However, little or no mention was made specifically of the pelvic floor. The physical medicine literature includes the pelvic floor musculature as having an important role in respiration, as a key player in the generation of intra-abdominal pressure, and as a primary expiratory muscle.

CONCLUSIONS

The information gleaned from this literature review suggests that a cross-pollination between areas of science is needed, because quite obviously, the pelvic floor is a topic in physical medicine, but it is not (so much) in the voice literature. Reaching a consensus on how we describe the function of the respiratory musculature and specifically including the role of the pelvic floor in respiration and phonation deserves future attention. Further research looking specifically at the role of the pelvic floor in phonation is also warranted.

Effects of the Lung Volume on the Electroglottographic Waveform in Trained Female Singers

OBJECTIVES

To determine if in singing there is an effect of lung volume on the electroglottographic waveform, and if so, how it varies over the voice range.

STUDY DESIGN

Eight trained female singers sang the tune "Frère Jacques" in 18 conditions: three phonetic contexts, three dynamic levels, and high or low lung volume. Conditions were randomized and replicated.

METHODS

The audio and EGG signals were recorded in synchrony with signals tracking respiration and vertical larynx position. The first 10 Fourier descriptors of every EGG cycle were computed. These spectral data were clustered statistically, and the clusters were mapped by color into a voice range profile display, thus visualizing the EGG waveform changes under the influence of f_o and SPL. The rank correlations and effect sizes of the relationships between relative lung volume and several adduction-related EGG wave shape metrics were similarly rendered on a color scale, in voice range profile-style 'voice maps.'

RESULTS

In most subjects, EGG waveforms varied considerably over the voice range. Within subjects, reproducibility was high, not only across the replications, but also across the phonetic contexts. The EGG waveforms were quite individual, as was the nature of the EGG shape variation across the range. EGG metrics were significantly correlated to changes in lung volume, in parts of the range of the song, and in most subjects. However, the effect sizes of the relative lung volume were generally much smaller than the effects of f_o and SPL, and the relationships always varied, even changing polarity from one part of the range to another.

CONCLUSIONS

Most subjects exhibited small, reproducible effects of the relative lung volume on the EGG waveform. Some hypothesized influences of tracheal pull were seen, mostly at the lowest SPLs. The effects were however highly variable, both across the moderately wide f_o-SPL range and across subjects. Different singers may be applying different techniques and compensatory behaviors with changing lung volume. The outcomes emphasize the importance of making observations over a substantial part of the voice range, and not only of phonations sustained at a few fundamental frequencies and sound levels.

Effect of Bhramari Pranayama on the Acoustic and Aerodynamic Parameters of Voice in Normophonic Females

Summary. Objective

Pranayama is known for improving various health conditions. The present study is aimed at investigating the effects of bhramari pranayama on aerodynamic and acoustic parameters of voice in healthy individuals.

Study Design

This is a pretest-posttest design study.

Methods

A total of 24 participants in the age range of 20 to 25 years completed the bhramari pranayama regimen for 30 sessions. Aerodynamic and acoustic assessments were done before and after pranayama sessions. Maximum phonation duration, pitch, loudness, subglottal pressure, glottal airflow, laryngeal resistance and conductance along with acoustical parameters such as average F0, jitter, and shimmer, soft phonation index, noise to harmonic ratio, cepstral peak prominence, and smoothened cepstral peak prominence were analysed.

Results

The results revealed significant improvement in the maximum phonation duration, glottal airflow and pressure, average fundamental frequency, and cepstral peak prominence after practice suggesting that it has an effect on voice parameters.

Conclusion

Bhramari pranayama is effective in improving the acoustic and aerodynamic parameters of voice. The same needs to be investigated in hyper- and hypofunctional voice disorders in the future studies.

A Review of Singing Voice Subsystem Interactions-Toward an Extended Physiological Model of "Support"

During phonation, the respiratory, the phonatory, and the resonatory parts of the voice organ can interact, where physiological action in one subsystem elicits a direct effect in another. Here, three major subsystems of these synergies are reviewed, creating a model of voice subsystem interactions: (1) Vocal tract adjustments can influence the behavior of the voice source via nonlinear source-tract interactions; (2) The type and degree of vocal fold adduction controls the expiratory airflow rate; and (3) The tracheal pull caused by the respiratory system affects the vertical larynx position and thus the vocal tract resonances. The relevance of the presented model is discussed, suggesting, among others, that functional voice building work concerned with a particular voice subsystem may evoke side effects or benefits on other subsystems, even when having a clearly defined and isolated physiological target. Finally, four seemingly incongruous historic definitions of the concept of singing voice "support" are evaluated, showing how each of these pertain to different voice subsystems at various levels of detail. It is argued that presumed discrepancies between these definitions can be resolved by putting them into the wider context of the subsystem interaction model presented here, thus offering a framework for reviewing and potentially refining some current and historical pedagogical approaches.

Singing Teachers and Voice Science - An Evaluation of Voice Teaching in Australian Tertiary Institutions

The article documents a qualitative research project which evaluated the voice pedagogy of singing teachers in Australian tertiary institutions, particularly in relation to their use of recent voice science findings. The literature of voice science relevant to singing was surveyed and extended interviews were conducted with 50 singing teachers. Using the methodology of grounded theory, the interview data were analysed in categories identified as common to both voice science and practitioner understandings. It was clear from the results of the study that most singing pedagogy in Australian tertiary institutions is practised with incomplete knowledge of vocal physiology and acoustics, and/or misinformation with respect to some aspects of vocal functioning.

Since the results of physiological, acoustic and other scientific research conducted in recent decades constitute a valuable addition to the body of knowledge traditionally used in singing pedagogy, the study has implications for the professional education of singing teachers for the 21st century.

Breathing and Singing: Objective Characterization of Breathing Patterns in Classical Singers

Singing involves distinct respiratory kinematics (i.e. movements of rib cage and abdomen) to quiet breathing because of different demands on the respiratory system. Professional classical singers often advocate for the advantages of an active control of the abdomen on singing performance. This is presumed to prevent shortening of the diaphragm, elevate the rib cage, and thus promote efficient generation of subglottal pressure during phonation. However, few studies have investigated these patterns quantitatively and inter-subject variability has hindered the identification of stereotypical patterns of respiratory kinematics. Here, seven professional classical singers and four untrained individuals were assessed during quiet breathing, and when singing both a standard song and a piece of choice. Several parameters were extracted from respiratory kinematics and airflow, and principal component analysis was used to identify typical patterns of respiratory kinematics. No group differences were observed during quiet breathing. During singing, both groups adapted to rhythmical constraints with decreased time of inspiration and increased peak airflow. In contrast to untrained individuals, classical singers used greater percentage of abdominal contribution to lung volume during singing and greater asynchrony between movements of rib cage and abdomen. Classical singers substantially altered the coordination of rib cage and abdomen during singing from that used for quiet breathing. Despite variations between participants, principal component analysis revealed consistent pre-phonatory inward movements of the abdominal wall during singing. This contrasted with untrained individuals, who demonstrated synchronous respiratory movements during all tasks. The inward abdominal movements observed in classical singers elevates intra-abdominal pressure and may increase the length and the pressure-generating capacity of rib cage expiratory muscles for potential improvements in voice quality.

An investigation of abdominal muscle recruitment for sustained phonation in 25 healthy singers

OBJECTIVES

The purpose of this study was to investigate the baseline muscle thickness and recruitment patterns of the transversus abdominis muscle (TAM) and the internal oblique muscle (IOM) during semisupine phonation in a group of healthy performers.

STUDY DESIGN

This was a 2 × 3×2 within-group, repeated-measure study in which 25 professional vocalists--12 male and 13 female performed a series of sustained pitches in differing vocal qualities. Measurements were taken with ultrasound (Sonosite Micromaxx Ultrasound System) of the baseline thickness and % recruitment during voicing, of two deep abdominal muscles--TAM and the IOM. Correlations between TAM and IOM absolute change scores, TAM and IOM percentage change scores, and changes in muscle thickness (absolute and percentage) and age were examined using Spearman's correlations. Gender differences in the four types of change scores within each combination of pitch and quality were conducted with one-way analysis of variances. Differences in muscle thickness change 1) absolute scores and 2) percentage change in TAM and IOM, by pitch and quality (and their interactions) were analyzed using linear mixed models, using restricted maximum likelihood estimations, employing a Toeplitz variance-covariance matrix structure in SPSS (IBM, 2011). Post hoc analyses for independent variable group differences used Sidak's correction for multiple comparisons. Alpha level was set to 0.05.

RESULTS

In terms of absolute contractions (changes in the actual millimeter thickness of the muscle), the IOM was greater than the TAM. However in terms of percentage changes in muscles during phonation, the TAM was always greater than the IOM. The TAM as a percentage change was recruited preferentially and significantly in most vocal qualities tested. Although there were differences in muscle mass and recruitment patterns between genders, and males had thicker muscle mass at rest, differences due to muscle mass were not conclusive.

CONCLUSIONS

Overall this study supports the argument that the peri-abdominal muscles do indeed play a role in supporting the "performing" or athletic voice in healthy subjects, and will hopefully act as a database for further research in individuals with healthy and injured voices.

Reliability of the term ‘support’ in singing

The usefulness of a term depends on the extent to which it means the same thing to different people. In this investigation we examine the term 'support', commonly used in vocal pedagogy. Singing lessons given by co-author SS to five students at varying stages were recorded on DAT. By listening to these recordings, she selected 42 examples, each a few seconds long, that she found representative of different degrees of support ranging from perfect to nil. These examples were presented in random order to nine experts, all with a professional involvement in singing. Thirteen of the stimuli occurred twice in the test. Intra- and inter-rater reliability were found to be high, Cronbach alpha=0.910, and mean correlation 0.743 (SD 0.137). These data support the assumption that the term support has a similar meaning to voice experts and should thus be useful in voice terminology.

Effects of Eating on Professional and Amateur Singers for Select Pulmonary and Vocal Tasks

Singers will often refrain from eating a meal before a performance because they believe it will interfere with breath support. As there are no objective data to support or refute this belief, the purpose of this study was to obtain pre- and postmeal data from professional and amateur singers to investigate whether increased stomach contents from eating a meal adversely affected performance on specific maximal vocal/respiratory gestures. This was a prospective, repeated measures study. Forced vital capacity, maximum phonation times, and pitch range were obtained from professional and amateur singers before, immediately after, and 1 hour after eating a meal. There were no changes in measures across conditions for either group, indicating that eating does not interfere with maximal vocal and pulmonary measures.

Laryngeal and respiratory behavior during pitch change in professional singers

The aim of this study was to examine the physiology of pitch change in terms of laryngeal and respiratory mechanisms in professional singers. Nine female professional singers were recruited to participate in the study. Videoendoscopic recordings of the participants producing one-octave ascending and descending scales were used as a basis to apply a ratio measurement of vocal fold length for each note produced on the scale. Simultaneous respiratory data using Respitrace were also collected. Questionnaires (Voice Handicap Index and Vocal Questionnaire) were used to obtain information about psychosocial aspects related to voice use. Two vocal fold lengthening patterns (static and dynamic) were observed with pitch change. Participants exhibiting a static pattern of vocal fold lengthening had fewer years of vocal training, exhibited a more variable use of vital capacity, and also began the singing task at a higher position in their vital capacity. The reverse was true for participants exhibiting a dynamic vocal fold pattern. These preliminary data indicate that the pattern of vocal fold lengthening exhibited by singers may be related to the number of years of training possessed. Furthermore, the data indicate that stability in one subsystem may result in variability in another, as shown by the interaction between the vocal fold and respiratory patterns.

Evaluation of Support in Singing

This study searched for perceptual, acoustic, and physiological correlates of support in singing. Seven trained professional singers (four women and three men) sang repetitions of the syllable [pa:] at varying pitch and sound levels (1) habitually (with support) and (2) simulating singing without support. Estimate of subglottic pressure was obtained from oral pressure during [p]. Vocal fold vibration was registered with dual-channel electroglottography. Acoustic analyses were made on the recorded samples. All samples were also evaluated by the singers and other listeners, who were trained singers, singing students, and voice specialists without singing education (a total of 63 listeners). We rated both the overall voice quality and the amount of support. According to the results, it seemed impossible to observe any auditory differences between supported singing and good singing voice quality. The acoustic and physiological correlates of good voice quality in absolute values seem to be gender and task dependent, whereas the relative optimum seems to be reached at intermediate parameter values.

Instrumental and perceptual evaluations of two related singers

The primary goal of this study was to characterize a performer's singing and speaking voice. One woman was not admitted to a premier choral group, but her sister, who was comparable in physical characteristics and background, was admitted and provided a valuable control subject. The perceptual judgment of a vocal coach who conducted the group's auditions was decisive in discriminating these 2 singers. The singer not admitted to the group described a history of voice pathology, lacked a functional head register, and spoke with a voice characterized by hoarseness. Multiple listener judgments and acoustic and aerodynamic evaluations of both singers provided a more systematic basis for determining: 1) the phonatory basis for this judgment; 2) whether similar judgments would be made by groups of vocal coaches and speech-language pathologists; and 3) whether the type of tasks (e.g., sung vs. spoken) would influence these judgments. Statistically significant differences were observed between the ratings of vocal health provided by two different groups of listeners. Significant interactions were also observed as a function of the types of voice samples heard by these listeners. Instrumental analyses provided evidence that, in comparison to her sister, the rejected singer had a compromised vocal range, glottal insufficiencies as assessed aerodynamically and electroglottographically, and impaired acoustic quality, especially in her speaking voice.

Patterns of breath support in projection of the singing voice

Recordings of the rib cage and abdominal motions and acoustic output were obtained from five professional opera singers during performance of an aria recorded with two levels of voice projection. The condition of greater projection resulted in a significant increase in the acoustic power in the frequency band 2-4 kHz, relative to the power in the 0-2 kHz band, and a decrease in the mean expiratory flow, implying a move to more efficient vocalization with the greater projection. Also, the condition of greater projection resulted in a larger rib cage, particularly in the lateral dimension, but only a small decrease in the abdominal lateral dimension, suggesting that the greater abdominal support required for a larger projection is obtained by increased activation of abdominal muscles acting medially.

Consistency of phonatory breathing patterns in professional operatic singers

Breathing strategy is generally regarded as an important factor in operatic singing, because it is assumed to affect phonation. If so, professional singers should exhibit well-controlled, replicable breathing movements when repeating the same phrase. The purpose of the present study was to investigate to what extent professional opera singers show a consistent, exhalatory breathing behavior in a quasi-realistic concert situation. Respiratory movements were documented in 5 professional operatic singers, two women and three men, by means of respiratory inductive plethysmography. Comparison of respiratory data gathered from 3 renderings of the same phrases revealed high consistency with regard to lung volume (LV) behavior. The same applied to rib cage (RC) movements, suggesting a great relevance of RC control in singing. Consistency in abdominal wall (AW) movement was observed in 2 singers. These observations are in accordance with the idea that the breathing strategy plays an important role in voice production during singing. In addition, the correlation between LV changes, on the one hand, and RC and AW movements on the other, was examined. The contribution to LV changes from the RC and the AW varied across singers, thus suggesting that professional operatic singing does not request a uniform breathing strategy.