Does Vocal Fatigue Negatively Affect Low Vocal Range in Professional, Female Opera Singers? A Survey Study and Single-Subject Pilot Study

OBJECTIVE

1. To survey how vocal fatigue manifests itself in the vocal range of a sample of professional, female opera singers. 2. To assess laryngeal videostroboscopic changes of one professional, female opera singer before and after extended operatic singing.

METHODS

Survey study: 296 professional, female opera singers were recruited to participate in an anonymous research survey querying the temporary impact of vocal fatigue in professional, female opera singers. 46.3% of participants described themselves as singing mainstage roles at large, A-level opera houses. Singers were asked to report where in their vocal range they experienced the effects of vocal fatigue and could choose more than one response. Single-subject study: One professional, female opera singer (the author) underwent two laryngeal videostroboscopic exams pre and post vocal loading. The exams were evaluated and compared independently by two blinded laryngologists.

RESULTS

The results of the survey found that 42.9% of the total responses from professional, female opera singers indicated a temporary impact on the lower middle range (≈C4-F4) as a result of vocal fatigue. 36.5% of participants experienced a temporary impact on their lowest range (≈below C4) and 19.6% reported a temporary impact on their higher range due to vocal fatigue. The results of the single-subject study showed reduced glottal closure pattern in the postloading, lower middle range, head voice condition.

CONCLUSIONS

A large proportion (64.9%) of the professional, female opera singers surveyed reported increased difficulty navigating their lower middle range and/or lowest range after extended operatic singing. These results support the single-subject study, which found that after vocal loading, there was a decrease in glottal competence while singing in head voice in the lower middle range.

Focus of Attention in Voice Training

OBJECTIVE

The vast majority of motor learning studies investigating focus of attention have found that an external focus of attention (focusing on the effect of a movement) results in enhanced performance and learning, compared to an internal focus of attention (focusing on the body movement itself). The present study attempts to determine if the high incidence of internal focus of attention instruction that has been reported in the realm of athletics is replicated in voice training.

METHODS

Two hundred and seventy-eight singers, who were at least 18 years old and taking voice lessons, were recruited to participate in an anonymous research survey entitled "Instructions given to singers in voice lessons." The main six questions asked singers to report phrases or instructions that their studio voice teachers gave them in regard to posture, breathing and/or support, tone clarity and/or onset of tone, space and/or resonance, articulation, and reducing tension.

RESULTS

Approximately 50.83% of the total responses were classified as inducing an external focus, 39.42% were classified as internal focus, 6.48% used a combination of both internal and external focus, and 3.27% were categorized as miscellaneous.

CONCLUSIONS

The results of this study indicate that voice teachers use both external and internal attentional focus directives in the voice studio. Given the robust body of literature supporting the use of external focus, it is noteworthy that the current study found that external focus is used more often than internal focus in voice training.