Vocal Health - Voice Anatomy and Vocal Technique for Contemporary Singing - Essay Example

Vocal Health Author Institution Voice Anatomy Vocal Technique for contemporary singing The vocal technique is involving in that many singers are unnecessarily nervous or anxious about singing because there is no suffice guidance and experience. Being nervous can be overcome through learning about vocal production. The vocal production lays the anatomical and physiological functions connected to the process of singing in that the leader can hone the body parts and development of the muscles of the better technique. Additionally, the knowledge will enable the singer to maintain the technical skills optimally and the vocal health throughout the long performance, singing or the teaching career. There are four coordination of the four physiological systems resonation, phonation. Respiration and articulation in a bid to assist the creation of the beautiful quality of the tone to the aspiring singer (Benninger & Murry, 2008) In research of voice, voice singing has been widely discussed. However, the information does not always transfer beautiful singing. The kinesthetic experience with immediate clarity and relevancy is explored. Proper health management of the singer is discovered through beautiful singing. The work takes the mystery from singing with immediate clarity and relevance through guided exercise and verbal prompts that are verbal. The singer is assisted by good health management of the vocal cords; realize real resonance and clear enunciation. The body is a skillful source of beautiful singing and musical instruments. The vocal folds determine the pitch and determine the quality of the tone while larynx plays imperatively in contemporary singing. In essence, air flow is regulated in regard to the sound quality which the singer produces. The scientific and academic communication of voice maintaining the body folds, in essence produces the vocal quality. In essence, it is referred to as the modal voice quality. The muscles stretches and the thinner the folds, assists in producing quality voice called loft. Contemporary music is affected by health vocal production in that it I possible to produce high tones in a speech based register of the chest quality. Learning to sing with such quality in a healthy and free way is of paramount importance to the contemporary performers of music. It is feasible to produce high tones in an environment that is of speech based chest. Nevertheless, there is the likelihood to cause the vocal dysfunction issues such as to be safely done and thus needs more and greater efficiency of the output of the systems that are involved in production of the vocal sound. In contemporary singing, the vocal health is necessary for that, the use if the register is an essential concept in primary element and style in singing the voice training. The classical singers are taught the ways of blending the register so that a smooth sound is apparent. The face muscles of the singer affect the sound production (Benninger & Murry, 2008). The artistry of the singer may be compromised or hampered without the foundation in the vocal techniques which is inclusive the appropriate breath management, posture, free vocal production and the articulation. There are nevertheless, the difference that exists between the singing technique and classical technique for the PCM in regard to latter involving the more artistic choices and unaffected sound that may be inclusive of a healthy tone or the spoken quality. The artistic choices relate to the musical style integrity and thus the pedagogical strategy is to engage in exploration of the vocal nuance that enables the stylistic and musicality integrity (Harrison, 2014). Through the various elements of the vocal physiology and anatomy, the technical foundations aspects of the voice are learned. In essence, vocal care and vocal health require athletic discipline and artistry. There is a need to relax and stretch the muscles before singing. In essence, the vocal exercise warms up the muscles and helps remove mucous and reduce the risk of injury. In contemporary singing, one begins the vocal exercise with gentleness which puts little pressure on the muscles as feasible and release any tension in the neck and throat and allow small quantity of air to pass via the vocal cords. Using the lips and humming are the way of doing it since as individual progresses through the exercise, one can introduce airflow and produce sounds closer to the regular singing of phrases or words that one is used to. The exercise is often simple, and one can focus on more technique without getting caught up in contemporary singing or tapping the song's emotions (Peckham, 2006). Contemporary singing is a technique for healthy vocal production where the singer is given instruction to use less energy of the vocals in a singing approach. Singing is compared to the lightness and the strength of people speaking. If the singer has an inherent dark history or having pressure of muscular or breath tension of larynx when singing may lessen this tension. The approach assists in the development and ensures that there is less vocal cord mass The human voice is complex. Healthy vocal production is imperative and related to contemporary singing. Vocal production components give the singer an easy time to understand the use of voice. Consideration of the teeth, tongue and lips is essential in comprehending that besides presenting anatomical physical parts, voice is derived through the user of the entire body thus presenting nice sound in singing. Taking the voice lessons for the singer each of the components are used through practice of the diverse exercise. The vocal cords are the actual muscle parts and are used in contemporary singing where they are covered with mucus looking like jell. The cords are brought together to produce sound in singing. If the cords are not brought together, one will not be able to produce the correct sound. If it happens that the vocal health production is important to consider and thus one should drink sufficient water to lubricate the vocal instruments. Air is needed in order ensure that sound is produced. Enough air in contemporary singing makes whole lot of differences. Air that is not enough means that the sound produced is weak. Consequently, one has to work exemplary to make it audible and clear. Taking a deep breath might pose a challenge. The muscles should be relaxed in order to expand area of the lung. The voice space is another major component. It is necessary to have a pace for the throat for larynx in function well according to the ability. A good health vocal production is necessary in contemporary music and learns to relax the muscles of the throat so as to create constriction or tension pushing on larynx. Working on the above will ensure that a person has a healthy and rich process. Teaching the voice to sing to is a process that is very slow. The singer will sing, but takes longer time and dedication to reach the goals. Many singers are caught up in the moment and when they are tired they should rest vocally. Good vocal techniques are important for a healthy vocal production in contemporary music since the disregard from the vocal health or pressure from bandleader or director to rehearse songs can tire the voice. The pain in larynx can be a sign of a problem. The singers who experience the huskiness, loss of high range, huskiness or hoarseness should see the specialist of the throat who experienced it while the other singer refers to the doctor. The singers should watch for signs for vocal swellings that are characterized by a slight rapines or hoarseness which is a voice that feels huskier and higher than the normal and also a vocal quality sounding coarse and less than clean. In many times, there is a loss of high range and one need more breath support than the normal as a result of the inefficient vibration of the vocal cords due to swelling. The singers can be outgoing, gregarious and emotional people. Since the instrument produces both the singing and speaking voice which follows that the singing can be affected negatively by poor habits of speaking. In order to prevent this, a touch distance talking is employed. This will help in controlling the urge to prevent and shout unnecessary strain on the voice. Many experts believe that the high position larynx is dangerous to the vocal health and produces unpleasant sound. High larynxes approach to higher voice range can lead to various disorders, ballooning of capillaries, swelling and vocal nodules. Thus teaching on safer belt allowing the larynx to stay in a more neutral and stable position during the production of the belt. The healthy position of larynx during singing can read in vocal tract shaping. Since the range is limited in belt singing, many contemporary singers do not take note of the limitations and high larynx discomfort in the head register. The vocal folds are stretching, dynamic and thickening on the basis of loudness, resonance, pitch and demand registers. Conclusion The vocal technique is involving in that many singers are unnecessarily nervous or anxious about singing because there is no suffice guidance and experience. The vocal folds determine the pitch and determine the quality of the tone while larynx plays imperatively in contemporary singing. Contemporary music is affected by health vocal production in that it is possible to produce high tones in a speech based register of the chest quality. Singing contemporary in Healthy vocal production, is an instruction technique where the singer is presented instructions to use less of the vocal energy in the singing approach. References Roy, N., Gray, S. D., Simon, M., Dove, H., Corbin-Lewis, K., & Stemple, J. C. (2001). An Evaluation of the Effects of Two Treatment Approaches for Teachers with Voice Disorders. A Prospective Randomized Clinical Trial. Journal of Speech, Language, and Hearing Research, 44(2), 286-296. Benninger, M. S., & Murry, T. (2008). The Singer's Voice. Plural Publishing. Harrison, S. (2014). Teaching Singing in the 21st Century. Springer. Peckham, A. (2006). Vocal Workouts for the Contemporary Singer, Volume 978, Issues 0-87044. BerkLee Press. Phyland, D. J., Thibeault, S. L., Benninger, M. S., Vallance, N., Greenwood, K. M., & Smith, J. A. (2013). Perspectives on the impact on vocal function of heavy vocal load among working professional music theater performers. Journal of Voice, 27(3), 390-e31. Woodruff, N. W. (2011). Contemporary commercial voice pedagogy applied to the choral ensemble: An interview with Jeannette LoVetri. Read More