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PubMed2000

[Analysis of the causes of vocal tract diseases in singers].

The etiology of vocal apparatus diseases in opera singers is due to both specific features of their theatrical activity and conventions of opera genre in particular. A hundred and twenty seven vocalists (soloists and choristers) aged 23 to 70 years with service length of 3 to 40 years were examined. Both the status of the vocal apparatus itself and comorbidity were found to affect the occurrence of occupational diseases of the larynx. Of great importance are the quality of vocal background of a singer, his/her age, length of service, the even distribution of vocal load during a month and a season, the volume of additional work (concert and pedagogical activities), the correspondence of parts to his/her techniques and actor's capacities, and living and social conditions. The pattern of vocal apparatus diseases also depends on the type of a singer's voice and on the status of his/her nervous system. This study-based recommendations for singers and theater managers administrators reduced the incidence rates of laryngeal diseases in the followed-up professional opera singers by 15-20%.

Adult↗
PubMed2002

[Comparative study of respiratory mechanisms between professional lyrical singers and beginners].

The apprenticeship for classical singing requires years of training due to its complexity. This training is directed at the different levels of the vocal apparatus: the source of energy or air flow (lungs), the vibrator (vocal cords) and the resonators (bucco-pharyngeal cavity). For this study we have concentrated on the first level, that is, respiration. When a greater demand of vocal activity is required respiration becomes more sustained and more complex; this is when difficulties may be observed. Singers overcome these difficulties through different strategies according to their level of vocal training. Our study compared respiratory strategies used by professional singers and singing students (first year conservatoire students) during singing tasks; none of the subjects had any history of vocal pathology. Electromyographic analysis of muscle activity was registered for the rectus abdominals muscle, external oblique muscle and transverse muscle with surface electrodes. Kinetic analysis was used to measure thoracic cage displacement: pressure sensitive belts were placed around the pubis, the epigastric region and thorax. The subjects were asked to perform two vocal tasks: vocalization of a sustained "i" and singing of an extract of a vaccaï. Results were compared between the 7 professional singers and the 6 singing students. They allowed us to confirm the existence of distinct respiratory strategies according to the level of vocal training, as described in literature. Professional singers inhibited the activity of their rectus abdominals muscles during singing and used mostly their external oblique and transverse muscles, thus, sustaining an expanded ribcage and a longer expiratory breath. Singing students, on the other hand, worked intensively all the abdominal muscles leading to a collapse of the ribcage. Management of air was more difficult and breath was shorter. Future studies will consider a larger population sample in order to define quantitative parameters that might allow a significant differentiation of respiratory strategies between professional singers and singing students.

Adult↗
PubMed1976

[Singer and actor under medical attention of the laryngologist].

Singers and actors offer special problems to the laryngologist as far as their personality is concerned as the individual intensity of their vocal usage. A successful therapeutical approach requires that the doctor is able to involve himself into the physical and psychic conditions of an artistic usage of the voice; he also should be as well open to singing as to music in general. Knowledge in pathophysiology of larynx and voice, experiences in phoniatry and psychological interests will enable the larngologist to solve such medical problems which occur when working on diseases of the voice of singers and actors. Based on these few remarks, the report deals with the following short chapters: doctor and singer, the most frequent causes of vocal disorders, the "dry throat' of the singer, coughing out of custom, vocal nodules, the prevention of damages of the voice, the singer's voice under endocrine influences, possible damages of the voice in connection with operations and - the actor with an ill voice.

Art↗
PubMed1987

Lowering of serum cholesterol by Temoe Lawak Singer, a Curcuma mixture.

Temoe Lawak Singer (RVG 08637) consists of a mixture of an extract of the roots of Curcuma aromatica rhizoma and whole roots of Curcuma amara rhizoma and Rhamni purshianae cortex; it has cholerectic and chologougic activity. The addition of Temoe Lawak Singer to a high-cholesterol diet, but not a cholesterol-free diet, was found to lower both serum and liver cholesterol in rats. When the rats were fed Temoe Lawak Singer as 0.1, 0.5 or 1.0% (w/w) of the high-cholesterol diet for 22 days, serum cholesterol concentrations were lowered by 4, 10 and 19%, respectively. The lowest dose induced a 20-% decrease in liver cholesterol, and higher doses did not cause further reduction. The fecal excretion of bile acids was decreased by 1.0% of Temoe Lawak Singer in the diet. It is suggested that Temoe Lawak Singer taken at normal doses may lower serum cholesterol in man.

Animals↗
PubMedDate not supplied

Does singing promote well-being?: An empirical study of professional and amateur singers during a singing lesson.

This study explored the possible beneficial effects of singing on well-being during a singing lesson. Eight amateur (2m, 6f, age 28-53 yrs) and eight professional (4m, 4f, age 26-49 yrs) singers who had been attending singing lessons for at least six months were included. Continuous ECG was recorded and computerized spectral analysis was performed. Serum concentrations of TNF-alpha, prolactin, cortisol, and oxytocin were measured before and 30 min after the lesson. Five visual analogue scales (VAS, sad-joyful, anxious-calm, worried-elated, listless-energetic, and tense-relaxed) were scored before and after the lesson. In addition, a semi-structured interview was performed. Heart rate variability analyses showed significant changes over time in the two groups for total power, and low and high frequency power. Power increased during singing in professionals, whereas there were no changes in amateurs. This indicates an ability to retain more "heart-brain connection." i.e., more cardio-physiological fitness for singing in professional singers, compared to amateur singers. Serum concentration of TNF-alpha increased in professionals after the singing lesson, whereas the concentration in amateurs decreased. Serum concentrations of prolactin and cortisol increased after the lesson in the group of men and vice versa for women. Oxytocin concentrations increased significantly in both groups after the singing lesson. Amateurs reported increasing joy and elatedness (VAS), whereas professionals did not. However, both groups felt more energetic and relaxed after the singing lesson. The interviews showed that the professionals were clearly achievement-oriented, with focus on singing technique, vocal apparatus and body during the lesson. The amateurs used the singing lessons as a means of self-actualization and self-expression as a way to release emotional tensions. In summary, in this study, singing during a singing lesson seemed to promote more well-being and less arousal for amateurs compared to professional singers, who seemed to experience less well-being and more arousal.

Adult↗
PubMed2005

The visual/kinesthetic effects of melodic contour in musical notation as it affects vocal timbre in singers of classical and music theater repertoire.

The purpose of this investigation was to obtain information from professional singers active in performing of both classical and music theater repertoire with regard to the visual/kinesthetic effect of melodic contour in musical notation as it affects vocal timbre. The evaluation of data gathered during the study indicates that there is reason to investigate the resulting postural shifts of the head and neck because they are guided by visual maps of melodic contour and its inversion. Significantly, it was discovered that the tone quality produced when a singer's head and neck postures followed the natural melodic contour of the melody was in no case considered to be the most pleasing of the conditions studied and that, in many cases, the tone quality produced when a singer's head and neck postures followed a map of the inversion of the melodic contour was judged to be much improved. The results of the study also indicate that the development of new technology for the general teaching studio, designed to address these effects, may be useful to these singers.

Adult↗
PubMed1981

Professional singers: the science and art of clinical care.

Voice complaints of serious singers are usually not imaginary, and rational diagnosis and treatment can be achieved through systematic inquiry and analysis based on anatomy, physiology, psychology and psychoacoustics of voice production. Good vocal habits should be encouraged from childhood. Measures to aid in voice conservation include avoiding singing in noisy, dry, dusty, and smoky environments and learning to control the voice in circumstances in which auditory monitoring of the intensity of vocalization cannot be done effectively. The dangers of cheerleading, choir-conducting, and other forms of abuse of the speaking voice for the serious singer are emphasized. Young singers should be enthusiastically encouraged to sing music suitable for their ages and voices, and should be discouraged from taking on difficult roles prematurely. Smoking must be avoided. Thorough training and regular practice are essential for maintenance of a healthy singing voice. Close cooperation among laryngologist, speech pathologist and voice teacher is emphasized. Treatments for reflux laryngitis, anxiety, muscle spasm, voice abuse, vocal nodules, and infectious laryngitis in the professional singer are detailed.

Adolescent↗
PubMed2001

Level and center frequency of the singer's formant.

The "singer's formant" is a prominent spectrum envelope peak near 3 kHz, typically found in voiced sounds produced by classical operatic singers. According to previous research, it is mainly a resonatory phenomenon produced by a clustering of formants 3, 4, and 5. Its level relative to the first formant peak varies depending on vowel, vocal loudness, and other factors. Its dependence on vowel formant frequencies is examined. Applying the acoustic theory of voice production, the level difference between the first and third formant is calulated for some standard vowels. The difference between observed and calculated levels is determined for various voices. It is found to vary considerably more between vowels sung by professional singers than by untrained voices. The center frequency of the singer's formant as determined from long-term spectrum analysis of commercial recordings is found to increase slightly with the pitch range of the voice classification.

Female↗
PubMed2002

Significance of auditory and kinesthetic feedback to singers' pitch control.

An accurate control of fundamental frequency (F0) is required from singers. This control relies on auditory and kinesthetic feedback. However, a loud accompaniment may mask the auditory feedback, leaving the singers to rely on kinesthetic feedback. The object of the present study was to estimate the significance of auditory and kinesthetic feedback to pitch control in 28 students beginning a professional solo singing education. The singers sang an ascending and descending triad pattern covering their entire pitch range with and without masking noise in legato and staccato and in a slow and a fast tempo. F0 was measured by means of a computer program. The interval sizes between adjacent tones were determined and their departures from equally tempered tuning were calculated. The deviations from this tuning were used as a measure of the accuracy of intonation. Statistical analysis showed a significant effect of masking that amounted to a mean impairment of pitch accuracy by 14 cent across all subjects. Furthermore, significant effects were found of tempo as well as of the staccato/legato conditions. The results indicate that auditory feedback contributes significantly to singers' control of pitch.

Adult↗
PubMed2002

Harmful substances on the opera stage: possible negative effects on singers' respiratory tracts.

Objective, quantitative information is lacking in the medical community about actual working conditions for professional singers onstage, and moreover, about which conditions are safe. Physicians, speech-language pathologists, and speech scientists focusing on laryngology should have relevant information about the opera as workplace and the medical sequelae of unhealthy environments. We describe five toxic substances to which singers presenting to our clinics were exposed while working professionally on the opera stage: (1) aromatic diisocyanates, (2) penicillium frequentans in cork granulate, (3) formaldehyde in cork granulate, (4) cobalt and aluminum (pigment components), and (5) quartz sand capable of entering the alveolae. Biological considerations and clinical data for some subjects suggest a direct causal link between the exposures and the patients' complaints and findings. Our observations suggest that whenever singers complain about deleterious conditions such as dry and hot onstage climate or suspicion of the presence of harmful substances, the specific conditions existing in the theater in question should be investigated. Harmful substances are not only poorly tolerated by singers, but also they should be preventable.

Hazardous Substances↗
PubMed2002

Airway considerations for professional singers--a survey of expert opinion.

The objective of this study was to survey physician experts in voice disorders/treatment to establish consensus guidelines for translaryngeal intubation (TLI) and tracheotomy when treating professional singers or other voice professionals. A written survey was sent to all physician members of the Voice Foundation seeking opinions/recommendations about route of TLI, duration of TLI before tracheotomy, size of endotracheal and tracheotomy tubes, and special interventions during patient care as these might differ between professional singers and nonsingers. Fifty-five percent of the physicians responded, of whom 73% classified their experience in voice care as "extensive." A strong consensus (76%) favored a smaller endotracheal tube for singers (6-7 mm I.D. for males and 6.0 mm I.D. for females) via the oral (46%) versus nasal (36%) route. Intubation/extubation by the most expert/experienced personnel was emphasized so as to minimize direct trauma to the larynx. While intubated, strong recommendations were made to suppress gastric acid production and to minimize motion of the endotracheal tube, including patient sedation. Preferences for an early tracheotomy (6 days) versus their usual time (10 days) were approximately equal (44% vs. 50%, respectively) and most respondents (69%) recommended the same size tracheotomy tube (8.0 mm I.D. for males and 6.0 mm I.D. for females) for singers and nonsingers. Post extubation/decannulation care emphasized voice rest, retraining, continued gastric acid suppression, and the possibility of direct laryngoscopy to assess post-TLI or tracheotomy injuries.

Choice Behavior↗
PubMed2003

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.

Acoustics↗
PubMed1994

An investigation of the laryngeal system as the resonance source of the singer's formant.

Since its introduction, the Sundberg model of the laryngeal system as the resonance source of the singer's formant has gained wide acceptance. However, no studies directly testing this hypothesis in vivo have previously been reported. Thus, the present study was undertaken to test this hypothesis on three classically trained professional male singers. The vocal behaviors of the singer-subjects were evaluated during model and pulse register phonation via magnetic resonance imaging, strobolaryngoscopy, and acoustic analysis. Results indicated the subjects did not achieve the laryngopharyngeal/laryngeal outlet cross-sectional area ratio requisite to the model and that the formant remained robust in pulse register phonation. It was concluded that these subjects' behaviors were not consistent with Sundberg's model and that the model was inadequate to account for the generation of the singer's formant in these three subjects.

Adult↗
PubMed1988

Vocal shadowing in singers and nonsingers.

Five nonsingers and five singers vocally matched the pitches of frequency modulated tones. Subject responses to the shadowing task were analyzed in terms of accuracy, and in terms of duration and speed characteristics of pitch changes. In addition, each frequency change was categorized according to hit, overshoot, undershoot, or oscillate patterns. Singers were found to effect pitch changes in significantly less time than the nonsingers. This finding was attributed to more direct patterns (hits) and faster maximum speeds obtained by the singers. Both groups demonstrated a direct relationship between the size of the pitch change and each of the duration and speed parameters examined. Similarly, for both groups, pitch lowering was faster than pitch raising. Faster speeds and more direct paths in effecting pitch changes were viewed as evidence of greater vocal proficiency in singers as compared to nonsingers. Implications of the data for mechanical and physiological aspects of voice frequency control are discussed.

Adult↗
PubMed1989

[The voice of the singer in the phonetogram].

Phonetograms were subdivided into areas approximating voice registers. By means of an analytical description of the areas, parameters could be established for a differentiation of voice categories and efficiency. The evaluation of 21 untrained and 34 trained voices showed a significant difference between the two groups. Male singers demonstrated more efficiency in the head and chest registers than male non-singers; female singers showed a stronger efficiency only in the head voice in comparison with their non-singer counterparts. Proceeding from voice sound alone, voices are often misclassified regarding the voice categories, and voice problems arise. Moreover, enhanced training of only chest or head voice function results in functional disorders in the singing voice. Such cases can be demonstrated by means of phonetograms.

Adult↗
PubMed2001

Euthanasia and John Paul II's "silent language of profound sharing of affection:" why Christians should care about Peter Singer.

Peter Singer's recent appointment to Princeton University created considerable controversy, most of it focused on his proposal for active euthanasia of disabled infants. Singer articulates utilitarian ideas that often appear in public discussions of euthanasia. Drawing on Pope John Paul II's work on ethics and suffering, I argue that Singer's utilitarian theory of value is impoverished. After introducing the Pope's ethic based on the imago dei, I discuss love as self-gift. I show how this concept supports a theory of value in which spiritual goods are preeminent over material goods. I then describe how suffering reveals spiritual goods, discussing how participation in Christ's suffering can alter our perception of value. I also consider how communal responses to suffering provide opportunities for self-giving. Third, I consider Singer's proposal for killing infants with hemophilia, arguing that it arbitrarily ignores spiritual goods. I then discuss proposals to kill anencephalic infants, discussing how parental responses to their suffering can demonstrate an extraordinary love in seemingly hopeless circumstances. I conclude by calling for a more sustained social response to euthanasia initiatives.

Anencephaly↗
PubMed1998

Prospective randomized comparative study of tracheoesophageal voice prosthesis: Blom-Singer versus Provox.

OBJECTIVES: Compare the most commonly used types of tracheoesophageal voice prostheses, Blom Singer and Provox. STUDY DESIGN: Prospective study of 113 prostheses placed in 52 patients randomly selected to receive Blom-Singer and Provox. METHODS: Postoperative voice was recorded at 1 and 4 months after valve placement. Survival time of the prosthesis and four objective voice parameters were analyzed. Eight judges rated all recordings in a random order for six subjective voice parameters. Subgroup analysis for primary versus secondary placements and type of procedure was performed. In addition, patients were asked for their subjective assessment. RESULTS: Overall, Blom-Singer and Provox prostheses give very similar voice quality, lifetime, and patient satisfaction. Cleaning management is somewhat better for Provox, but there is a trend toward better overall voice quality for the Blom-Singer prosthesis. In subgroup analysis secondarily placed prostheses score somewhat better than primary placements, and patients with total laryngectomy have better voices than patients with extended laryngectomy combined with partial pharyngectomy. CONCLUSIONS: Given the equal and good results in terms of voice quality, other factors (e.g., costs, surgery-related factors, maintenance, patient preference) should be taken into account when deciding which type of tracheoesophageal voice prosthesis to use.

Esophagus↗
PubMed2005

Outcome of vocal hygiene in singers.

PURPOSE OF REVIEW: In this article, we illustrate the evolution of studies that contribute to a better understanding of vocal care for professional voice users and singers in particular. RECENT FINDINGS: Research on vocal hygiene is specific, focusing on concrete solutions. It has commonly been believed that hydration and vocal rest are beneficial; recent research proves this supposition. An exhaustive medical diagnosis and careful therapy is stressed to detect and treat any micro-organic lesions caused by reflux, infection, allergy and environmental circumstances, which can harm a singer's voice. The use of medication is reviewed and side effects are evaluated. SUMMARY: Vocal coaches, speech therapists and otolaryngologists need to focus more specifically on the management of vocal care. Accurate medical diagnosis and specific guidelines for singers must be provided as higher voice demands imply more profound and structured voice care. In the past, vocal hygiene had a negative connotation; a more positive and supporting approach to voice care, with more attention to the singer, is recommended.

Fluid Therapy↗