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- Do I have to sing alone?
- How am I graded in chorus?
- What should I know about vocal health?
- What do I have to wear to the concerts?
- When are the concerts?
- How can I practice at home without a piano?
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Do I have to sing alone?
Singing alone is a part of the National Standards in Music Education. (The
Standards are listed in the link on the home page.) In order for me to track
your vocal development and see your improvement, I need
to hear you. Most often I will have you sing with one or two other students.
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How am I graded in chorus?
Sing! Sing! Sing! That's the first thing you should do. Your grade is based
on the following:
- Class Participation
- Timely completion of assignments
- Attendance/Participation for Performances
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What should I know about vocal health?
A Singer's Notes: Preventing Vocal Nodules
http://www.bgsm.edu/voice/singers_notes.html
Teresa Radomski, MM
"Do I have nodules?!"
This is one of the question most often asked by singers who have been having
problems with their vocal production. Repeated hoarseness, breathy
or "husky"
tone (especially in the middle register), difficulty singing in the upper
register (especially the inability to sing high notes pianissimo), the need
to use greater-than-normal breath pressure to sustain the voice, thereby
increased the overall effort of singing -- these are danger signals that
indicate the possibility of nodules on the vocal cords.
What are vocal nodules?
Normal vocal cords have smooth, white mucosal surfaces without any
irregularities on the vibrating borders. Excessive tension or force used
when
singing or speaking often "overloads" the vibration of the vocal cords,
resulting in too much friction. A hematoma, or bruise on the vibrating edge
develops, generally occurring at the anterior one-third of the vocal cord,
which is the point of maximal contact during phonation. Later, fibrous
tissue
replaces the hematoma, becomes larger, and eventually appears as a soft or
hard white nodule. Typically, two nodules are present; they appear opposite
each other on each vocal fold, indicating the place of excessive friction
and/or impact.
How are nodules treated?
Once vocal nodules have been diagnosed, treatment usually begins with
complete vocal rest followed by a careful regimen of speech therapy and/or
appropriate singing exercises. If the nodules are large, surgical removal
may
be necessary. However, regardless of how the nodules are treated, it is
imperative that destructive singing or speaking patterns be corrected -- if
the singer returns to his or her old habits of voice production, the nodules
will return.
How can nodules be prevented?
Proper vocal technique and a sensible lifestyle, which includes necessary
rest and relaxation, aerobic exercise, and a healthy diet, are sufficient to
prevent vocal nodules! Recent studies of the laryngeal biomechanics of
singers at the Center For Voice Disorders have shown that excessive muscle
tension patterns in the larynx are greatly reduced in singers with vocal
training, as compared to singers who have never studied voice.
See "Laryngeal
Biomechanics of the Singing Voice"
Singers need to learn how they can be both relaxed and energetic in their
vocal production -- a delicate "balance" that is accomplished gradually
through increased kinesthetic awareness. Breath support must be appropriate;
too much breath pressure can result in excessive laryngeal tension. The
vocal
cords must be protected from overexertion: for example, through the
avoidance
of a hard "glottal attack." Learning to "open up" pharyngeal space with a
loose jaw, tongue, and soft palate increases resonance and enhances vocal
production without "forcing" or "pushing." Careful development of the
registers of the voice safeguards against vocal strain; for example,
the "blending" of the male falsetto voice or the female "head" voice with
the "chest" register aids in appropriate vocal cord vibration. Appropriate
voice classification is essential to ease in singing; singing out of range
(in the wrong tessitura) is asking for vocal trouble. Likewise, singers
should use care in developing the extremes of their range, and should avoid
singing too many high (or low) notes during a practice period. Singers
should
also be aware that the "correct technique" applies not only to their singing
voice, but also to their speaking voice. Misuse of the speaking voice,
usually by forcing it to a lower pitch, causes problems for singers,
including the possibility of developing nodules. (See "Bogart-Bacall
Syndrome.")
Once proper vocal technique has been learned, it remains the responsibility
of the singer to maintain optimal vocal performance through a sensible
regimen of daily practice, including a careful warm-up before all rehearsals
and performances. No athlete would attempt to compete without warming-up,
yet
singers frequently neglect to prepare themselves adequately for the physical
intricacies of singing!
Certain types of singing are much more prone to the development of vocal
nodules: rock, jazz, gospel, and most popular styles, for example, in which
the technique resembles shouting or screaming, greatly "overload" vocal cord
vibration.
Performing for long hours in the smoky, dusty, and noisy environment of
nightclubs further aggravates a tendency toward vocal abuse. The prevalence
of nodules among popular singers is often evidenced by the typical "husky,"
or "breathy" tone quality -- a characteristic sound that can become a
personal "vocal trademark." Indeed, many pop singers diagnosed with nodes do
not wish to treat them, for fear of losing their "persona"! Such singers
should be aware, however, that continued vocal abuse (singing with nodules),
combined with smoking, alcohol, or drug abuse can lead to serious laryngeal
disease, including cancer. The fact that many popular singers are untrained
also increases their chances of vocal disorders. In the aforementioned
recent
study of laryngeal biomechanics at the Center For Voice Disorders, two
female
popular singers were examined, by transnasal fiberoptic laryngoscopy. The
two
singers were about the same age, and sang a similar repertoire, but one had
never studied voice, while the other had had many years of "classical" voice
study. The untrained singer had vocal nodules, with a resulting breathy
tone,
and exhibited a great deal of muscle tension while performing. The trained
singer showed a healthy larynx with little muscle tension, and sang with a
clear, strong tone -- evidence that vocal study benefits popular as well
as "classical" singers.
Most professional "classical" singers are very protective of their voices,
occasionally to the extent of hypochondria. Nonetheless, their best
intentions to preserve their voices may be undermined by overly-demanding
rehearsal/performance schedules, often combined with the fatigue of travel
(usually on dry, dusty, and noisy airplanes), and the necessity to fulfill
their performance contract obligations, regardless of whether they are
healthy or ill. Aspiring young singers often allow themselves to be
overworked during the early stages of their careers, a time when they should
instead be carefully developing and nurturing a healthy technique that will
enable them to perform well for many years. Would-be professional singers,
in
their desire for "experience", often accept roles that are out of their
optimal vocal range. Unfortunately, the demands of today's high-pressured
professional world have resulted in the "early retirement" of many of these
singers.
The importance of maintaining one's general health as a contributing factor
to one's vocal hygiene cannot be overestimated. Regardless of the style of
singing, rest and relaxation are essential as antidotes to the rigors of
extensive vocal use, nervous tension, and performance stress. Proper diet is
important, especially since many voice disorders result from
gastroesophageal
reflux disease, in which stomach acid backs up into the larynx, causing
irritation of the vocal cords. (See "Medicine in the Vocal Arts"). Overuse
of
alcohol adversely affects the voice through its drying effect on the tissues
of the vocal tract. The damaging effects of cigarette smoke,
including "secondhand smoke," are well known, and obviously should be
avoided
by singers. Any drug that is inhaled, swallowed or injected may affect the
muscles of vocal production, aside from the obvious dangers of being an
addict on substances. Commonly used drugs such as antihistamines can
irritate
the vocal cords through over-drying of the mucosa, and aspirin can increase
the tendency to hemorrhage. Finally, a routine of aerobic exercise, yoga,
and/or meditation, can greatly help to relieve stress and tension, thereby
enhancing the singer's overall well-being.
References:
1. Bunch, Meribeth: Dynamics of the Singing Voice, Springer-Verlag, New
York,
1982.
2. Punt, NA: The Singer's and Actor's Throat, William Heinemann Medical
Books
Ltd., London, 1979.
3. Saunders, WA: The Larynx, CIBA Pharmaceutical Company, Summit, N.J.,
1964.
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© Copyright, Center For Voice Disorders of Wake Forest University
http://kidshealth.org/misc_pages/bodyworks/resp.html
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What do I have to wear to the concerts?
Students in 6th Grade Chorus are not required to purchase an outfit. 7th and
8th Grade Chorus students will be required to purchase an outfit. A handout
will be sent home about purchasing outfits
at the beginning of the year.
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When are the concerts?
Please refer to the Calendar section of the webpage. All scheduled
performances are listed there.
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How can I practice at home without a piano?
Do you have a computer or a cd player? If yes, then all you have to do is
bring a cd to school and I will burn a cd for you to use at home. You can
also access music files through our classroom website.
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