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Vocal Qualities in Music Theater Voice: Perceptions of Expert Pedagogues.

Abstract

OBJECTIVES/HYPOTHESIS

To gather qualitative descriptions of music theater vocal qualities including belt, legit, and mix from expert pedagogues to better define this voice type.

STUDY DESIGN

This is a prospective, semistructured interview.

METHODS

Twelve expert teachers from United States, United Kingdom, Asia, and Australia were interviewed by Skype and asked to identify characteristics of music theater vocal qualities including vocal production, physiology, esthetics, pitch range, and pedagogical techniques. Responses were compared with published studies on music theater voice.

RESULTS

Belt and legit were generally described as distinct sounds with differing physiological and technical requirements. Teachers were concerned that belt should be taught "safely" to minimize vocal health risks. There was consensus between teachers and published research on the physiology of the glottis and vocal tract; however, teachers were not in agreement about breathing techniques. Neither were teachers in agreement about the meaning of "mix." Most participants described belt as heavily weighted, thick folds, thyroarytenoid-dominant, or chest register; however, there was no consensus on an appropriate term. Belt substyles were named and generally categorized by weightedness or tone color. Descriptions of male belt were less clear than for female belt.

CONCLUSIONS

This survey provides an overview of expert pedagogical perspectives on the characteristics of belt, legit, and mix qualities in the music theater voice. Although teacher responses are generally in agreement with published research, there are still many controversial issues and gaps in knowledge and understanding of this vocal technique. Breathing techniques, vocal range, mix, male belt, and vocal registers require continuing investigation so that we can learn more about efficient and healthy vocal function in music theater singing.

Links

  • Publisher Full Text
  • Authors+Show Affiliations

    ,

    Sydney Conservatorium of Music, University of Sydney, Sydney, Australia. Electronic address: tracy.marie.bourne@gmail.com.

    Sydney Conservatorium of Music, University of Sydney, Sydney, Australia.

    Source

    MeSH

    Asia
    Auditory Perception
    Australia
    Consensus
    Female
    Health Knowledge, Attitudes, Practice
    Humans
    Interviews as Topic
    Judgment
    Larynx
    Loudness Perception
    Male
    Music
    Pitch Perception
    Prospective Studies
    Qualitative Research
    Respiration
    Singing
    Teaching
    Terminology as Topic
    United Kingdom
    United States
    Voice Quality

    Pub Type(s)

    Journal Article
    Multicenter Study

    Language

    eng

    PubMed ID

    25882989

    Citation

    TY - JOUR T1 - Vocal Qualities in Music Theater Voice: Perceptions of Expert Pedagogues. AU - Bourne,Tracy, AU - Kenny,Dianna, Y1 - 2015/04/14/ PY - 2015/01/24/received PY - 2015/03/17/accepted PY - 2015/4/18/entrez PY - 2015/4/18/pubmed PY - 2016/10/12/medline KW - Belt KW - Legit KW - Mix KW - Music theater KW - Pedagogy KW - Voice SP - 128.e1 EP - 12 JF - Journal of voice : official journal of the Voice Foundation JO - J Voice VL - 30 IS - 1 N2 - OBJECTIVES/HYPOTHESIS: To gather qualitative descriptions of music theater vocal qualities including belt, legit, and mix from expert pedagogues to better define this voice type. STUDY DESIGN: This is a prospective, semistructured interview. METHODS: Twelve expert teachers from United States, United Kingdom, Asia, and Australia were interviewed by Skype and asked to identify characteristics of music theater vocal qualities including vocal production, physiology, esthetics, pitch range, and pedagogical techniques. Responses were compared with published studies on music theater voice. RESULTS: Belt and legit were generally described as distinct sounds with differing physiological and technical requirements. Teachers were concerned that belt should be taught "safely" to minimize vocal health risks. There was consensus between teachers and published research on the physiology of the glottis and vocal tract; however, teachers were not in agreement about breathing techniques. Neither were teachers in agreement about the meaning of "mix." Most participants described belt as heavily weighted, thick folds, thyroarytenoid-dominant, or chest register; however, there was no consensus on an appropriate term. Belt substyles were named and generally categorized by weightedness or tone color. Descriptions of male belt were less clear than for female belt. CONCLUSIONS: This survey provides an overview of expert pedagogical perspectives on the characteristics of belt, legit, and mix qualities in the music theater voice. Although teacher responses are generally in agreement with published research, there are still many controversial issues and gaps in knowledge and understanding of this vocal technique. Breathing techniques, vocal range, mix, male belt, and vocal registers require continuing investigation so that we can learn more about efficient and healthy vocal function in music theater singing. SN - 1873-4588 UR - https://www.unboundmedicine.com/medline/citation/25882989/Vocal_Qualities_in_Music_Theater_Voice:_Perceptions_of_Expert_Pedagogues_ L2 - https://linkinghub.elsevier.com/retrieve/pii/S0892-1997(15)00050-8 ER -