Healthy Vocal Production, the Human Voice Evolution, and Performance - Essay Example

Healthy Vocal Production Name Institutional Affiliation Instrumentalists treasure their instruments by taking good care of them. They are very careful so as not to expose their instruments to harmful elements. Instrumentalists understand that care is required in keeping their instruments in the condition that are very good in order to achieve the maximum results. On the other hand, some singers do not take care of their instrument, the voice. For example, yelling at such a high voice in an event such as sporting can damage the voice permanently. It is, therefore, important for a singer to practice healthy vocal production by practising healthy ways of using the voice so as to get maximum results. In this case, promoting vocal health is beneficial to the singer. It helps in removing risk factors associated with the vocal fatigue (Webb, 2007). This essay explains healthy vocal production, its relevance in contemporary singing relates it to voice health, anatomy, physiology and function. Since time immemorial, human beings have been using voice for expression purposes. It is a musical instrument that is the oldest (Surmani, 1995). The forms of the human voice are many and it ranges from singing, speaking, shouting, wailing to whispering. Notwithstanding all its forms, the function of the human voice is communication. When a person sings, he or she is communicating a message regardless of whether the message is inherent in the words or it is a beautiful melodic message. Singing is a manner in which emotions are positively shown and vented (Surmani, 1995). However, to achieve this in contemporary singing, a singer must practice healthy vocal production by promoting and maintaining vocal health. The good vocal technique is important in producing a healthy voice that is required in singing without feeling vocal fatigue. Singers rely on their own voices for purposes of fulfilling their art and personal fulfilment. For this reason, they must constantly be aware of their voices functionality in terms of vocal fold action and breathing (LaPine, 2008). The vocal function of a human voice can be analysed in relation to its subjective traits such as quality, loudness and pitch. It can also be done in terms of its objective traits such as amplitude, intensity and frequency (LaPine, 2008). All these interact together in getting a healthy vocal production. Pitch can either be too low or too high depending on age and gender of a singer, and loudness can either be too loud or too soft for a given environment. In contrast, no real consensus has been found in judging the quality- the vocal tone clarity. The terminology that vocal quality has been associated with in a frequent manner has been quite colourful (Boone, McFarlane, & Von-Berg, 2005). However, terms such as breathy, stuffy, hoarse, metallic, nasal, and strident are descriptive but they do not have universally accepted definitions (Case, 2002). Although there is no agreement about the description of vocal quality, what is clear is the strong relationship existing between poor vocal quality and physical health that has an impact on healthy vocal production (LaPine, 2008). Singing is a process of speaking on pitch (Surmani, 1995). It is about trusting a human body to know what to do. Re-education process to singers is often necessary to quell any muscular tension inherent in their singing. Hence, they can be able to achieve a state of trust and simplicity associated with singing. Improving a healthy singing voice takes time as old habits that are not productive should be replaced with new patterns that are useful in the modern singing. In order to realise production of healthy vital tones, development of all factors associated with singing is necessary to a singer (Surmani, 1995). For example, the breath, body posture and vocal cords should be put in a coordinated mechanism that sings. Through determination and coordination and steady use of voice and practice, a singer can change old non-productive habits and realise healthy vocal production. Singing is unique because singers are unable to remove their instrument and put in a case for purposes of keeping it safe when not using it. The body (and specifically the voice) is the instrument of a singer and all aspects of a singer’s life affect it. In fact, voice has three characteristics distinguishing it from other musical instruments. It carries out biological and musical functions, cannot be seen by a human eye and it is carried within the body of human beings (Olson, 2010). Vocal health is, therefore, paramount in the achievement of healthy vocal production. Hydration of vocal cords through plenty of drinking water helps in keeping them in good working condition. A fatigued sound can be caused by lack of sleep and it is important in today’s singing that singers have a good rest before a show or a performance. Singing involves many aspects and all of them must be “vocally healthy”. However, not everything that is done by a singer promotes his or her vocal health. Singing in both high and low registers and with intensities and resonance options that vary is vital in minimising vocal injury (Hall, 2014). During the performance, a necessary basis for vocal health can be provided to a singer by taking care of his or her physical instrument. This can be done by having daily physical exercise, maintaining focused attention during a performance and adequate hydration and nutrition (Hall, 2014). Smoking is a habit that causes vocal cords membranes to swell hence resulting in poor vocal production and clarity in the voice of a singer. In some cases, sneezing, clearing one throat and excessive coughing can harm the vocal cords by causing a sudden strain. Quitting smoking can lead to a clearer tone and general improvement in vocal production. A healthy body is a forward step towards the achievement of a healthy voice. Contemporary singing emphasises healthy vocal production because of the increased competition. In understanding healthy vocal production, the key ingredient for a singer is proper use and development of registers-group of tones having the same quality or texture (Benninger & Murry, 2008). The whole vocal mechanism of a singer is assisted to work freely and efficiently by developing and strengthening of chest and head registers. It is of paramount importance that contemporary performers know how to sing with a chest register in a way that is both free and healthy. In order to use this register successfully, the voice should be efficiently and safely trained by understanding anatomy and physiology of a voice. In fact, the human voice is delicate, complex and remarkable (Smith & Sataloff, 2012). It has capability to convey sophisticated, intellectual and subtle emotional nuances. For a singer, it may not be possible to achieve normal and healthy voice production needed in today’s singing if voice anatomy and physiology are not understood. Anatomy of voice is not limited to larynx that is essential in the production of normal voice. The back and abdominal musculature, nose, oral cavity, pharynx, lungs and the rib cage are also included in the vocal mechanism (Smith & Sataloff, 2012). Each of these components performs an important function in the production of voice, especially a healthy one. Specifically, the larynx has an important function as pitch and the basic tonal quality of a sound is determined by the vocal folds (Benninger & Murry, 2008). Moreover, it also regulates the flow of air depending on the singer’s quality of the sound it is producing. Voice production and singing are different and much more complex as compared to other musical instruments. It involves the interaction of the musculoskeletal system, the diaphragm and abdomen, vocal tract and psycho-neurological system (Benninger, 2010). All these should function properly and in a manner that is coordinated so as to produce a desired sound, a healthy voice. Indeed, voice production is a complex interaction of various body systems. Understanding production of a healthy voice can be better understood by thinking of the voice as a musical instrument. For example, for sound to be produced in a guitar, the string(s) must be plucked and guitar string or reed should vibrate while the body of the guitar should resonate. In the production of a human voice, the lungs act as a vibrator. As a person exhales, the air that is breathed out serve as a source of power that sets up vocal folds vibration (Scherer & Rubin, 2002). Specifically, the vocal folds serve as vibrators (Benninger & Abitbol, 2006). The control of the movements of vocal folds in fine manner allows flexibility of the singing voice. On the other hand, the chest, sinuses and face in the body serve as resonators by giving the voice its character (Benninger & Abitbol, 2006). Other body parts also play some role in the achievement of a healthy voice production. For example, an upright position allows for the production of the strongest voice. Voice is a useful instrument for singers. It is paramount for them to keep their voice healthy by practising good habits by using their voices appropriately. Shouting at a high pitch, whaling can be detrimental to voice health and production of healthy voice cannot be realised. Healthy voice production is therefore speaking well and possessing the ability to project speaking voice appropriately by utilising breathing strategies that support the intensity of sound production. Furthermore, it involves the appropriate use of the voice anatomy and physiology during training, in performance and in everyday life to achieve a vocal health that is imperative in the contemporary singing. References Benninger, M. S. (2010). The Human Voice Evolution and Performance. Music and Medicine, 2(2), 104-108. Benninger, M. S., & Murry, T. (2008). The singer's voice. San Diego: Plural Publishing. Benninger, M., & Abitbol, J. (2006). Brief Anatomy and Physiology of the Voice. Retrieved from https://www.entnet.org/EducationAndResearch/upload/Chapter_3.pdf. Boone, D. R., McFarlane, S. C., & Von, B. S. L. (2005). The voice and voice therapy (7th ed.). Boston, MA: Pearson/Allyn & Bacon. Case, J. L. (2002). Clinical management of voice disorders (4th ed.). Austin, Tex: Pro-Ed. Hall, K. (2014). So you want to sing Music Theater: A guide for professionals. Lanham, Maryland: Rowan & Littlefield. LaPine, P. R. (2008). The relationship between the physical aspects of voice production and optimal vocal health. Music Educators Journal, 94(3): 24-29. Olson, M. (2010). Solo Singer in the Choral Setting : A Handbook for Achieving Vocal Health. Blue Ridge Summit, PA, USA: Scarecrow Press. Scherer RC., & Rubin JS. (2002). Laryngeal physiology: Normal and disordered. In M.S Benninger (ed.), Benign Disorders of Voice. Alexandria: American Academy of Otolaryngology—Head and Neck Surgery; 29-44. Smith, B., & Sataloff, R. T. (2012). Choral pedagogy and the older singer. San Diego: Plural Publishing. Surmani, K. F. (1995). Teach yourself to sing: For singers of any style. Van Nuys, CA: Alfred Publishing Company. Webb, J. L. (2007). Promoting vocal health in the choral rehearsal. Music Educators Journal, 93(5): 26-31. Read More