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A técnica belting usada no teatro musical norte-americano e a pedagogia vocal no Brasil
Abstract
Através de extensa revisão bibliográfica, entrevistas com pedagogos vocais dos EUA e do Brasil, além de prática musical e pedagógica, o autor analisou as bases fisiológi- cas e artísticas do canto contemporâneo que é utilizado na música popular norte-ameri- cana em seu estilo de produção mais controverso, o belting. A importância de se conhecer mais sobre este estilo é clara, pois modelos vocais vindos dos EUA são frequentemente usados sem rigor ou treinamento em musicais e espetáculos e na música vocal brasileira, ocasionando inconsistência de timbres, problemas de saúde e perda de qualidade vocal. Os resultados desta pesquisa indicam que o cantor deve aprender a alterar o trato vocal e a intensidade vocal de maneira sutil para que não cubra demais a voz ou fique em situa- ção de “violação de registro” (MILLER, 2000), mantendo o timbre esperado para o estilo, com resistência e saúde.
... Popeil observou que no belting "...o palato mole é mantido um pouco mais baixo (que no canto clássico) e há um estreitamento de espaço entre a parte posterior da língua e a parede posterior da faringe 22 que no canto clássico "...a cartilagem larín-gea é bastante baixa, e há bastante espaço entre a parte posterior da língua e a parede posterior da faringe 23 " (ibidem). Com relação a forma da boca na produção do belting, Titze e Worley observaram que essa deve ser mais larga, semelhante à um megafone tipo trompete (Fig. 2) (TITZE;WORLEY, 2009). White reforça essa idéia ao dizer que "a posição neutra da laringe e o tubo de ressonância mais curto exige um "sino" mais largo para compensar e assim, consequentemente, a forma da abertura da boca deve ser mais larga 24 " (WHITE, 2011, p.24), além de reforçar o fato de que "geralmente o belting exige modificação das vogais na direção aberta (/ i / pode gravitar em direção à / e /, por exemplo) enquanto a modificação da vogal do canto clássico se dá em direção fechada (como / a / para / o /) 25 " (ibidem). ...
... Popeil observou que no belting "...o palato mole é mantido um pouco mais baixo (que no canto clássico) e há um estreitamento de espaço entre a parte posterior da língua e a parede posterior da faringe 22 que no canto clássico "...a cartilagem larín-gea é bastante baixa, e há bastante espaço entre a parte posterior da língua e a parede posterior da faringe 23 " (ibidem). Com relação a forma da boca na produção do belting, Titze e Worley observaram que essa deve ser mais larga, semelhante à um megafone tipo trompete (Fig. 2) (TITZE;WORLEY, 2009). White reforça essa idéia ao dizer que "a posição neutra da laringe e o tubo de ressonância mais curto exige um "sino" mais largo para compensar e assim, consequentemente, a forma da abertura da boca deve ser mais larga 24 " (WHITE, 2011, p.24), além de reforçar o fato de que "geralmente o belting exige modificação das vogais na direção aberta (/ i / pode gravitar em direção à / e /, por exemplo) enquanto a modificação da vogal do canto clássico se dá em direção fechada (como / a / para / o /) 25 " (ibidem). ...
Observando os relatos sobre a tragédia vocal que aconteceu no musical Rent de 1996, quando grande parte do elenco perdeu a voz, e com base nos estudos de Schutte e Miller (1992), Popeil (1999), Edwin (2007), Durham-Lozaw (2014) e Silva (2016) sobre a voz do belt, a autora propõe uma reflexão a respeito do ensino do canto do teatro musical norte-americano e as transformações sofridas na pedagogia vocal do belt ao longo dos anos. Para tal, foram analisadas duas interpretações de uma mesma canção do musical Rent, executadas pela mesma cantora em um intervalo de 10 anos, uma em 1996 e outra em 2006. Os resultados desse estudo mostram que houve significativa mudança na pedagogia vocal do canto de teatro musical norte-americano, o que proporciona aos cantores de teatro musical contemporâneo, menor risco de sofrerem com problemas vocais causados pelo uso inadequado da voz. Além disso, mostram a importância de que professores de canto e especialistas em voz cantada conheçam a fisiologia vocal na produção do belting e saibam como executar e aplicar a técnica aos seus alunos.
This research is a literature review about vocal gestures present in popular music of Anglo-American influence. The main objective was to outline the vocal gestures here divided into vocal qualities and effects. The introduction presents motivations about this research and the adopted methodology. The chapters were organized through a progression, perhaps even pedagogically, of the categories of vocal gestures: vocal qualities, which bring definitions of two important methods, Estill Vocal Training (EVT) and Complete Vocal Technique (CVT); vocal effects, divided into Intentional Vocal Distortions (DVI, Distorções Vocais Intencionais) and Undistorted Effects (END, Efeitos Não Distorcidos). To these chapters was added a chapter to deal with the presence of these vocal gestures, whether qualities or effects, in some styles of popular music (musical theater, rock and brazilian popular music). The paper also discusses the different nomenclatures to designate the same vocal gesture found in the literature due to the lack of consensus in the academy and even the same nomenclatures to define distinct sounds. Finally, the need for further research in the field of voice science and singing voice pedagogy related to vocal gestures is brought to light, especially in Brazilian popular singing.
There is a commonly perceived difference in the sound produced in the approximate range D4-D5 by female singers in the western opera and concert tradition, on the one hand, and certain other styles, including rock, pop, folk, and some Broadway musicals, on the other. The term "belting" is sometimes used to refer to at least one approach to such "nonclassical" singing. In this study, based on spectrographic, electroglottographic, and sub- and supraglottal pressure measurements on representative voices of the "operatic" and "nonclassical" tradition, acoustic and laryngeal differences between the two traditions are described, and an objective, specific definition of "belting" is offered.
Little literature is available on professional musical theater female singers, a population that regularly uses a wide variety of vocal qualities. This study tested the hypothesis that different vocal qualities cause observable specific configurations of muscular movements and structural changes of the larynx, hypopharynx, oral pharynx, and oral cavity for individual singers. Fiberoptic rigid and flexible endoscopic observation were used to determine visual analysis of such configurations. This study documents observable physiologic changes that were made by professional musical theater female singers in specific vocal qualities.
This study, focused on the laryngeal source level, introduces the concept of laryngeal vibratory mechanism. Human phonation is characterized by the use of four laryngeal mechanisms, labeled M0-M3, as evidenced by the electroglottographic (EGG) study of the transition phenomena between mechanisms with a population of men and women, trained and untrained singers. Macroscopic and local descriptions of the EGG signal are analyzed during the production of glissandos and held notes with different mechanisms. The transition from one mechanism to another of higher rank is characterized by a jump in frequency, a reduction of EGG amplitude, and a change in the shape of the derivative of the EGG (which may correspond to a reduction of the vibratory mass). These characteristics are used to identify a transition between two mechanisms, in complement with acoustic spectrographic analyses. The pitches of transitions between the two main mechanisms M1 and M2 and the range of the frequency-overlap region are described in detail. The notion of vocal register is revisited in the light of these concepts of laryngeal mechanism. The literature on vocal registers is reviewed, and it is shown that the confusion often cited with respect to this notion may be related to the heterogeneity of the approaches and methods used to describe the phenomena and to the multiplicity of descriptors. Therefore, the terminology of the registers is organized depending on their relation to the four laryngeal vibratory mechanisms.
Perhaps the most renowned writer in the field of vocal pedagogy, Richard Miller has delivered a new and outstanding contribution to the study of vocal technique in Securing Baritone, Bass-Baritone, and Bass Voices. The first thorough and comprehensive treatment of low male voices, this book draws on techniques and practical advice from Miller’s years of professional experience as a performer and pedagogue. With a unique focus on “securing” the technical stability of the male voice, the book offers practical advice to students, their teachers, and professional performers, through numerous practical exercises and repertoire suggestions appropriate to various stages of development. Miller synthesizes historic vocal pedagogy with the latest research on the singing voice, always emphasizing the special nature of the male voice and the proper physiological functioning for vocal proficiency. An indispensable guide to male low voices, this book is an essential text for performers, aspiring performers, and instructors alike.
The expanded and updated third edition of this acclaimed Companion provides an accessible, broadly based survey of one of the liveliest and most popular forms of musical performance. It ranges from the American musical of the nineteenth century to the most recent productions on Broadway, in London's West End, and many other venues, and includes key information on singers, audiences, critical reception, and traditions. Contributors approach the subject from a wide variety of perspectives, including historical concerns, artistic aspects, important trends, attention to various genres, the importance of stars, the influence of race, the various disciplines of theatrical production, the musical in varied media, and changes in technology. Chapters related to the contemporary musical have been updated, and two new chapters cover the television musical and the British musical since 1970. Carefully organised and highly readable, it will be welcomed by enthusiasts, students, and scholars alike. © Cambridge University Press 2002, 2008, 2017. All rights reserved.
During the past decades, "Dynamics of the singing voice" has successfully been established as a reference text for teachers of singing, singers, choral conductors and organists, speech and voice therapists, laryngologists and other health professionals, psychologists and those in linguistics. It discusses the physiological, psychological, musical and emotional aspects of the voice, particularly as they relate to singing but also to speaking. The book provides a greater understanding of how the voice works and the many factors involved in singing as well as an objective discussion of singing without reference to specific techniques. In this fifth edition, the author has now updated and rearranged the content. Furthermore she has added a new chapter on vocal pedagogic aspects in order to meet the requirements of the art of singing of the 21st century. Thus this new book provides the reader with the established concepts in combination with the latest knowledge about modern approaches to the singing voice.
Belt is a style of singing commonly used in nonclassical genres. Its respiratory, phonatory, and resonatory characteristics are unclear.
Basic research.
Six female singers, professionally performing in the belt styles since many years, sang an excerpt of a song in belt and nonbelt/neutral style, two times with the lyrics and two times replacing the lyrics with /pae/ syllables. On separate channels, recordings were made of audio, oral pressure, and rib cage and abdominal wall movements, as picked up by respiratory inductive plethysmography. Lung volume and breathing patterns during inhalation and phonation were normalized with respect to duration and averaged. Voice source was analyzed in terms of flow glottograms derived from the audio signal by inverse filtering.
Belt was produced with higher pressures and yielded higher sound levels, but no consistent breathing pattern was observed, neither for the belt, nor for the neutral style. Voice source differences suggested that belt was produced with firmer glottal adduction than neutral. Also, in four of the singers, the first formant was closer to a spectrum harmonic in belt than in neutral.
Belt style of singing is not associated with a characteristic breathing behavior but is produced with higher subglottal pressures, higher sound levels, and firmer glottal adduction than a neutral style of singing.
Copyright © 2015 The Voice Foundation. Published by Elsevier Inc. All rights reserved.
Preface. Acknowledgments. 1. Classification of Tenor Voices. 2. Breathing for Singing. 3. Vowel Modification ("Covering") in the Tenor. 4. Tenorial Resonance and How to Achieve It. 5. Developing Agility in the Tenor Voice. 6. Learning to Maintain the High Tessitura. 7. Assorted Tenor Problems. Appendix A: International Phonetic Alphabet (IPA) Symbols. Appendix B: Spectrographic Analysis of Some Famous Tenor Voices. Glossary of Terms. Bibliography. Index.
Abstract Awareness of interactions between the lower harmonics of the voice source and the first formant of the vocal tract, and of the passive vowel modifications that accompany them, can assist in working out a smooth transition through the passaggio of the male voice. A stable vocal tract length establishes the general location of all formants, including the higher formants that form the singer's formant cluster. Untrained males instinctively shorten the tube to preserve the strong F1/H2 acoustic coupling of voce aperta, resulting in 'yell' timbre. If tube length and shape are kept stable during pitch ascent, the yell can be avoided by allowing the second harmonic to rise above the first formant, creating the balanced timbre of voce chiusa.
Music theater singers (MTS) typically have a heavy vocal load, but the impact on their voices has not been previously evaluated. A group of 49 MTS from two professional productions were administered the Singing Voice Handicap Index (SVHI). Responses for the SVHI demonstrated that, although the SVHI supported the performers' self-report of healthy vocal status, it lacked the sensitivity to detect potential subtle fluctuations or changes in physical functioning of the voice for working singers. Secondarily, descriptive data regarding professional working singers' perspectives were collected regarding how their singing voices typically responded to performing in a music theater production after a show, across a working week, and across a production season. Seventy-nine currently performing MTS were involved in a series of focus group interviews (n=43) or a written survey (n=36) to detail their perception of the impact of performing in an eight-show per week professional production on their vocal function and vocal health. Thematic analysis revealed the MTS commonly perceived transient and variable changes in their singing voice status in both positive and negative directions after heavy vocal load. Based on these data, a list of 97 descriptors of these perceptual changes was generated using the singers' own terminology and experiences. These included symptoms of vocal impairment and vocal fatigue but also some novel descriptors of positive vocal changes to the physical functioning of the singing voice as a perceived consequence of heavy vocal load. This study offers new and valuable insights into performers' perceptions of the impact of performing in a musical theater production on physical aspects of vocal function.
Certain spectrum characteristics have been identified as important for register equalization around the male passaggio, an effect ascribed to formant tuning although descriptions of formant tuning diverge. Eight professional singers sang scales including their passaggio range on different vowels, applying two formant tuning strategies as found in (1) classical and (2) non-classical singing. Formant frequencies were measured using inverse filtering. Results revealed differences between the two strategies. For the classical formant tuning, systematic changes of formant frequencies with pitch were observed. For the highest note sung on /a/, F1 was below the second partial and F2 in the vicinity of the third. Similar spectrum characteristics were achieved by different F1 and F2 values between singers.
Belting has been described as speechlike, yell-like, or shouting voice production commonly used in contemporary commercial music genres and substantially differing from the esthetic of the Western classical voice tradition. This investigation attempts to describe phonation and resonance characteristics of different substyles of belting (heavy, brassy, ringy, nasal, and speechlike) and the classical style. A professional singer and voice teacher, skilled in these genres, served as the single subject. The recorded material was found representative according to a classification test performed by an expert panel. Subglottal pressure was measured as the oral pressure during the occlusion for the consonant /p/. The voice source and formant frequencies were analyzed by inverse filtering the audio signal. The subglottal pressure and measured flow glottogram parameters differed clearly between the styles heavy and classical assuming opposite extremes in most parameters. The formant frequencies, by contrast, showed fewer less systematic differences between the substyles but were clearly separated from the classical style with regard to the first formant. Thus, the differences between the belting substyles mainly concerned the voice source.
The ideal in the 'classical' singing voice includes an extended pitch range with a 'perfect scale,' or the ability to move through a series of pitches with no audible discontinuity in voice quality. For a period of history that extends at least back into the 16th century, when virtuosic solo singing first blossomed in Italy, the collision of this ideal with the reality of the evident discontinuity between chest and head, or falsetto, registers has presented one of the greatest challenges to the skill of the artistic singer. At first the mechanism of voice itself was poorly understoond, and the registers were referred to the regions of the body where they appeared to resonate: the chest and head. 'Head voice' was also called 'falsetto', because of its contrast with the 'natural' male speaking voice. ... Zie: Summary and conclusions
Tenor singers may reach their top pitch range either by shifting from modal to falsetto register or by using their so-called 'voix mixte'.
In this study, dynamic real-time MRI of 8 frames per second was used to analyze the vocal tract profile in 10 professional opera tenors, who sang an ascending scale from C4 (262 Hz) to A4 (440 Hz) on the vowel /a/. The scale included their register transition and the singers applied both register techniques in different takes.
Modal to falsetto register changes were associated with only minor vocal tract modifications, including elevation and tilting of the larynx and a lifted tongue dorsum. Transitions to voix mixte, by contrast, were associated with major vocal tract modifications. Under these conditions, the subjects widened their pharynges, their lip and jaw openings, and increased their jaw protrusion. These modifications were stronger in more 'heavy' tenors than in more 'light' tenors. The acoustic consequences of these articulatory changes are discussed.
The present study required raters (casting directors) to evaluate the belt voice quality of 20 musical theater majors who were proficient in the singing style referred to as belting. Two specified vocalizes and six short excerpts from the belting repertoire were used for rating purposes. The raters were asked to judge the belters on a set of seven perceptual parameters (loudness, vibrato, ring, timbre, focus, nasality, and registration breaks), and then report an overall score for these student belters. The four highest and lowest average scores were used to establish the elite and average student belters. A correlation analysis and linear regression analysis provided insight regarding which perceptual judgments correlated most highly with the elite and average scores. The present study found the perceptual ratings of vibrato and ring to be most highly correlated to the elite student belter. In addition, vibrato and ring were found to highly correlate with perceived loudness.
Belting, a vocal technique typically cultivated in musical theatre singing, differs timbrally from operatic singing in many interesting respects. The underlying phonatory differences have not been previously investigated in detail. Yet, belting is frequently associated with disturbances of voice function. Articulatory and phonatory characteristics are investigated in a female subject who is a professional singer (co-author JL) trained in both the operatic and belting styles and in an intermediate vocal technique ("mixed"). This article presents data obtained from this subject by video-fiberoptic observation of the pharynx, inverse filtering of airflow, and measurement of subglottal pressure. The results reveal that belting was characterized by very high subglottal pressures and sound levels, and apparently also by a comparatively high degree of glottal adduction. Comparisons with other investigations of related aspects of belting and operatic singing support the assumption that the data obtained from our subject are representative for these vocal techniques.
Currently, there is an increasing interest in and demand for training in a wide variety of nonclassical music--contemporary commercial music (CCM)--and most particularly for music theater. A survey of singing teachers was completed to elucidate their training, education, and experience with and methods of teaching CCM. Teachers were at colleges, universities, and conservatories as well as in private studios, both nationally and in several foreign countries. A substantial percentage of those teaching CCM had neither formal education in teaching it nor professional experience. Many of the respondents indicated conflict between classical and CCM styles. Respondents were generally familiar with voice science and voice medicine as well as certain CCM terminology. Teachers expressed an interest in obtaining more information, with an emphasis on healthy vocal production. These results are discussed, as well as implications for the singing teacher who desires specific training to teach CCM.
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