The Relationship between Vocal Health and Contemporary Singing essay

People of “vocal” professions – actors, singers, speakers, teachers, and others inevitably encounter in their activities with the problems of voice health care. However, little attention to voice hygiene in schools results in improper voice use leading to both acute and chronic illnesses that require treatment of phoniatrician, otolaryngologist, or phonopedist. Thus, at the early stages of the learning process, the vocal department students already form the attitude to the problem of maintaining the phonation function in working condition as to a medical issue, whereas in our view, a singer’s vocal health is primarily a pedagogical problem. In particular, we consider it fundamentally important for the learning process of vocalists to develop a system of measures to preserve the vocal health, and develop practical skills for its maintenance.

First of all, it should be noted that the voice exploitation should be carried out strictly according to individual capabilities, peculiarities of vocal apparatus structure and the level of singing skills. Irrational use of voice (unusual tessitura, prolonged singing, forcing sound) leads to diseases of the organs involved in voice generation, namely acute and chronic occupational laryngitis, papules on vocal cords, bleeding in vocal cords. In addition, contemporary singers very often face a situation where the vocalist finds oneself in acoustically uncomfortable conditions: singing in an anechoic room with a lot of upholstered furniture absorbing sound, singing at the rehearsal in a small room, especially with live drums, giving concert without foldback. As a result, for example, from 300 singers and musical groups of Tartu (Estonia), 85.3% suffered from disorders of voice, and 73% of them had abnormal larynx diagnosed by laryngoscopy and stroboscope. Further,145 persons had a chronic inflammation of the larynx, and 142 singers showed functional disorders as a defect of the glottis closing, and uneven movement of cords (DeVore & Cookman, 2009).

Good voice hygiene suggests that vocal exercise should not last more than 45 minutes without a break, should be regular, start with singing warm-up and held in tessitura peculiar to the individual’s voice. Otherwise, overloading weakens laryngeal muscles, the voice loses its sonority, becomes uncontrollable, and excessive mucus accumulates in the larynx. At the same time, little, insufficient, irregular exercise leads to rapid fatigue of the apparatus, its poor endurance. In this case, it becomes crucial for the singers to develop the skill to listen to the body, learn its capabilities (Sataloff, 2006). The skill of muscle control while singing is the ability to “listen” to the muscles of the vocal apparatus, know the feelings of proper singing, which helps to cope with difficulties in acoustic changes, that is to be guided not by hearing, but by the usual, tried and tested experience. This, for example, helps to sing well in the choir when the own voice is not heard.

In turn, the training of individual vocal, auditory skills, and muscle control skills are directly related to the efficient vocal exercises. In particular, it is necessary to be able to prepare the voice for both, operation and recreation, which requires a vocalist to master special complexes like warm up and warm off. Thus, the shorter the performance is and the more time left to it, the longer the warm up is needed to be on top shape by the time of the performance (usually about 30 minutes). It is also necessary to warm up before each rehearsal. The load on the ligaments and the entire body should be reduced gradually as well. After singing is finished, conversational voice must sound normally, with no signs of hoarseness. If during the concert nothing unexpected happened to the voice, to relax, it is enough to sing the chromatic scale in the sound [i:] a few times or closed sound from a comfortable key in mid-range to the lowest note, and then pause for a while (Peckham, 2005). If the voice is somehow affected by the forcing, it is necessary to repeat this a few times to achieve the effect.

Contemporary singers should also note the significance of the psycho-emotional state, as all the changes occurring in the human body primarily affect the voice function. Favorable psychological climate, joyous mood, upbeat tone, cheerfulness, keeping the sleep schedule – these are the keys to healthy vocalising. In particular, it is known that chronic sleep deprivation removes force and sonority of voice and leads to fatigue. Peckham’s study (2005) showed that a well-rested vocalist copes better with technically complex vocal techniques, has better concentration and more power to master new vocal exercises and musical pieces. Cold training and sports contribute to the overall strengthening of the body. Singers are particularly recommended to do swimming, fencing, rowing, tennis, gymnastics and breathing exercises.

Diet also influences the voice sound. In particular, for singers it is harmful to eat foods that irritate the mucous membrane – spicy, bitter food in large amounts, overly sweet or sour, piping hot or icy cold foods, as well as carbonated water. In addition, digestion requires a rush of blood to the digestive organs, which decreases activity of voluntary muscles of the larynx. Full stomach also presses on the diaphragm and interferes with normal breathing. Therefore, it is recommended to have meal not later than 2-3 hours before the start of exercises or performances (Sataloff, 2006). It should also be borne in mind that before singing one should not eat nuts, seeds, biscuits, vegetable oil, chocolate, grapes, as small particles of these products are deposited in the folds of mucous membrane, can cause a feeling of tickling and desire to cough, which interferes the process of the vocal apparatus.

Meanwhile, normal state of the vocal apparatus is when all the mucous membranes are moistened. Therefore, during singing exercises it is recommended to moisturize the throat drinking still water, and generally follow the adequate daily intake of water. The main factors of throat dryness are the insufficient room humidity, strong tea and alcohol abuse. Thus, the use of alcohol also leads to reddening of the mucosa, edema and release of large amounts of mucus, dry throat, stagnant circulation phenomena, and hoarseness. Smoking gives a similar effect: tobacco smoke containing nicotine, hydrogen cyanide, carbon monoxide and other harmful substances systematically irritating the mucous membrane of the mouth, pharynx, larynx, trachea and bronchi promotes the development of chronic respiratory diseases (DeVore & Cookman, 2009). Therefore, it is recommended not only get rid of this bad habit, but also to stop singing in areas where others smoke or have just smoked.

Hogikyan and colleagues at University of Michigan summed up 10 tips to keep voice in shape (Hogikyan & Rosen, 2002):

1. Drink water to avoid dehydration, avoid alcohol and caffeine.
2. Allow several “vocal naps” every day, especially during periods of extended use of voice.
3. Do not smoke, or if you already do, quit.
4. Do not abuse or misuse voice.
5. Keep throat and neck muscles relaxed both when singing high and low notes.
6. Control the everyday speech voice.
7. Do not clear throat too often.
8. When getting tired, spare the voice.
9. Having to speak publicly to large groups or outdoors, think about using amplification to avoid straining the voice.
10. Humidify home and work areas as moist air is good for the voice.

In general, singing requires great concentration of attention, mobilization of emotional and mental resources, and intellectual energy of the singer. That is why it is necessary to remember the importance of compliance with the “safety rules” that exist to prevent singer from losing the voice, if not forever, then for a long time, as well as to keep the vocal apparatus in optimal shape. Constant quenching with fresh air, sun, water, regular physical and vocal exercises, work and rest regimes and keeping balance of physical and spiritual strength – this is what should get in the habit of a contemporary vocalist (Sataloff, 2006). We see the appropriate fundamental components of the concept of a singer’s vocal health as the prevention of respiratory diseases, voice hygiene and speech functions rehabilitation. At the same time, the notion of vocal health for the singer should be polysystemic and considered in conjunction with the functional well-being of other organs and systems of the human body, as well as it should not be abstract, but present part of the basis of training. Solution to this problem lies primarily on vocal coaches, who are personally responsible not only for the artistic and technical skill level, but also for the formation of skills to maintain the vocal health in future singers.

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