Thesis (M. Mus.)--University of Stellenbosch, 2003. / ENGLISH ABSTRACT: Who is Nellie du Toit and what is the extent of her career as singer and voice teacher? The void in South African historiography in respect to the life and work of South African performing artists gave rise to investigate the career of Nellie du Toit. Known as one of South Africa’s most illustrious opera singers of the 1960’s and 1970’s, who made her career exclusively in South Africa, she is regarded as one of the most sought after voice teachers. Her career as singer spanned almost three decades. As voice teacher her career of over forty years is still ongoing. This study traces her biographical details chronologically beginning with her youth years in a very musical family. Her full-time music studies took place at the South African College of Music in Cape Town, from 1950 to 1952. Here her singing teacher Madame Adelheid Armhold and Gregorio Fiasconaro, head of the Opera School, were influential in laying the foundations for her career. After a period of over a year in England Du Toit was one of several young South African singers to contribute to pioneering opera in South Africa, often sung in the vernacular. Du Toit sang in forty-five opera seasons for the Provincial Arts Councils in the seventeen years between 1963 and 1979, when her opera career ended. In 1986 she returned to the opera stage as the Marschallin in Der Rosenkavalier by Richard Strauss. This was also her final farewell as opera singer. The title role in Madama Butterfly can be regarded as her hallmark. Her stunning portrayal of Lucia in Lucia di Lammermoor was regarded as a mile stone in South African opera history, as was her interpretation of Jenůfa. She was also hailed as a Mozart singer. Not only was she regarded as one of the world’s best “Butterflies” at the International Madame Butterfly Competition in Japan in 1970, but has she also been awarded three Nederburg Opera Prizes. Apart from opera, Du Toit gave numerous recitals of classical and light classical music, regularly sang in orchestral concerts and oratorio and was active as broadcasting artist. Her work as voice teacher always ran parallel to her singing activities. Her academic career at the Universities at Stellenbosch and Cape Town spanned fourteen years: from 1980 to 1993. Nellie du Toit’s achievements in music were laureated with the Medal of Honour from the Academy of Arts and Sciences in 1986 and an Honorary Doctorate from the University of Stellenbosch in 1998. / AFRIKAANSE OPSOMMING: Wie is Nellie du Toit en wat is die omvang van haar loopbaan as sangeres en sangpedagoog? Die leemte in Suid-Afrikaanse historiografie met betrekking tot die lewe en werk van Suid- Afrikaanse uitvoerende kunstenaars het aanleiding gegee tot hierdie ondersoek na die loopbaan van Nellie du Toit. Bekend as een van Suid Afrika se vermaarde operasangeresse van die 1960’s en 1970’s wat haar loopbaan eksklusief in Suid-Afrika gemaak het, word sy ook beskou as een van die mees gesogte sangpedagoë. Haar loopbaan as uitvoerende kunstenaar het oor byna drie dekades gestrek. Haar loopbaan as sangpedagoog, ná meer as veertig jaar, gaan steeds voort. Hierdie studie ondersoek haar lewe en loopbaan chronologies, beginnende met haar jeugjare in ʼn baie musikale gesin. Haar voltydse musiekstudies aan die Suid-Afrikaanse Musiekkollege in Kaapstad het van 1950 tot 1952 geduur. Hier het Madame Adelheid Armhold, haar sangpedagoog, en Gregorio Fiasconaro, hoof van die Operaskool, ʼn stewige fondament vir haar loopbaan gelê. Na ʼn tydperk van meer as ʼn jaar in Engeland, het Nellie du Toit een van die jong Suid-Afrikaanse sangers geword wat operabaanbrekerswerk in Suid-Afrika gedoen het. Du Toit het in vyf-en-veertig operaseisoene vir die Uitvoerende Kunsterade gesing in die sewentien jaar tussen 1963 en 1979, die jaar waarin haar operaloopbaan tot ʼn einde gekom het. In 1986 het sy na die operaverhoog teruggekeer in die rol van die Marschallin in Der Rosenkavalier van Richard Strauss. Dit was ook haar finale vaarwel as operasangeres. Die titelrol in Madama Butterfly kan as Du Toit se kenteken beskou word. Haar merkwaardige uitbeelding van Lucia in Lucia di Lammermoor is beskou as ʼn mylpaal in die Suid-Afrikaanse operageskiedenis. Dit geld ook vir haar vertolking van Jenůfa. Sy was ook hoog aangeskryf as Mozart-sangeres. Nellie du Toit is as een van die wêreld se beste “Butterflies” aangewys tydens die Internasionale Madame Butterfly Kompetisie in Japan in 1970. Daarbenewens het sy in Suid-Afrika drie Nederburg Operapryse ingepalm. Afgesien van opera het Nellie du Toit talryke uitvoerings van klassieke en ligte klassieke musiek gegee en gereeld in orkeskonserte, oratoria en as uitsaaikunstenaar opgetree. Naas haar loopbaan as uitvoerder het haar aktiwiteite as sangpedagoog byna ononderbroke voortgegaan. Haar akademiese loopbaan aan die Universiteite van Stellenbosch en Kaapstad het oor veertien jaar gestrek: van 1980 tot 1993. Nellie du Toit se prestasies in musiek is bekroon met die Erepenning van die Akademie vir Wetenskap en Kuns in 1986 en ʼn eredoktorsgraad van die Universiteit van Stellenbosch in 1998.

Thesis (MMus) (Music))--University of Stellenbosch, 2010. / AFRIKAANSE OPSOMMING:In Suid-Afrika, soos in ander lande, gebeur dit dikwels dat sangers in een of ander stadium van hul loopbaan met stemmoeilikheid/’n stemprobleem te doen kry. Die mees algemene reaksie is om ’n oor-, neus- en keelspesialis (ONK-spesialis) te besoek vir hulp. Die sangaktiwiteit vereis egter ’n baie fyn gebalanseerde kondisie van die sangapparaat en dit blyk dat die oorsprong van die meeste stemprobleme onder sangers funksioneel van aard is. Daarom word daar van die veronderstelling uitgegaan dat die mees suksesvolle behandelingsroete vir die sanger met ‘n stemprobleem ‘n integrale interdissiplinêre benadering behels wat nie net die ONK-spesialis insluit nie, maar ook ‘n spraakterapeut en sangpedagoog. Anders as in Suid- Afrika, word hierdie interdissiplinêre benadering alreeds algemeen toegepas in lande soos die VSA en Brittanje. Hierdie studie vind plaas vanuit die oogpunt van die sangpedagoog en identifiseer die nodige kennis en praktiese ondervinding wat sodanige sangpedagoog sal benodig om suksesvol as deel van ’n interdissiplinêre span in die behandeling van sangers met stemprobleme te funksioneer. Om hierdie doel te verwesenlik, neem die studie die vorm van ’n gevallestudie aan waarin die navorser binne die bestek van verskeie maande konsultasies met sangers met stemprobleme binne ‘n mediese stemkliniek onder leiding van ’n ONKspesialis prakties geobserveer het. Deurgaans word sodanige gevallestudies weergegee en bespreek. Dit sluit o.a. die rol van elk van die interdissiplinêre spanlede, oorsake en behandeling van tipiese stemprobleme onder sangers, asook die spesifieke rol van die sangpedagoog in die behandelingsproses, in. In die geheel het hierdie studie getoon dat daar ’n groot leemte en onkunde onder baie sangers bestaan (veral amateursangers) wat die nodige sorg en hantering van hul sangstem betref. Hiperfunksionele stemproduksie a.g.v. foutiewe stemgebruikgewoontes, afwesigheid van sangopleiding en onkunde op die gebied van stemhigiëne en -sorg was opvallend. Dit blyk dat die sangpedagoog, in noue samewerking met die ONK-spesialis en spraakterapeut, ‘n kritieke leemte kan vul in die gespesialiseerde opvoeding en behandeling van sangers met stemprobleme. / ENGLISH ABSTRACT: In South Africa, as in other countries, singers frequently happen to experience voice problems at some or other stage in their career. The general reaction to this problem is to seek help from an ear, nose and throat specialist (ENT specialist). Seeing that the activity of singing requires such a finely balanced condition of the vocal instrument, it seems that the origin of most voice problems singers experience are of a functional nature. This study is based on the premise that the most successful way of treating an artist with a voice problem is via an integrated interdisciplinary team approach, which includes an ENT specialist as well as a speech therapist and a singing pedagogue. Unlike in South Africa, this interdisciplinary approach is already common practice in countries such as the USA and the UK. The study is conducted from the viewpoint of a singing pedagogue. It identifies the knowledge and practical experience the singing pedagogue would require to function successfully as part of an interdisciplinary team in the treatment of singers with voice problems. To succeed in this goal the study takes on the form of a case study. The researcher practically observed consultations with singers over several months in a medical voice clinic under the leadership of an ENT specialist. These case studies are reflected and discussed throughout this thesis. Amongst others, this includes the role of each member of the interdisciplinary team, the causes and treatment of typical voice problems amongst singers, as well as the specific role of the singing pedagogue in the treatment process. It is found that a great deal of ignorance exists amongst many singers (especially amateur singers) in respect of the necessary care and management of their singing voice. Hyperfunctional voice production due to incorrect voice-use habits, the absence of vocal training and ignorance regarding vocal hygiene and voice care were encountered frequently.

Made available in DSpace on 2016-08-10T11:21:31Z (GMT). No. of bitstreams: 1 WAYNE GONCALVES DA SILVA.pdf: 46582039 bytes, checksum: 95b9d1b41be86c0fdc39d415115ed59a (MD5) Previous issue date: 2013-04-12 / This research aimed to understand the trajectory of radio singers in Goiânia in the decades of 1950 and 1960 from the perspective of feminist theoretical literature, raising and discussing some issues that arise in the relation between music and history. The research also sought to show how this relation may uncover unknown past, and that the relationship between music and story enables us to work with interdisciplinary record of history and culture. aims to recognize the work of these women singers in the process of development radios in Goiania. The choice of time frame is justified because it is a period that prevails in Goiania the existence of the last radio singers in Brazil. The choice of time frame is justified because it is a period that prevails in Goiania the existence of the last radio singers in Brazil. The common thread of research was the experiences of women singers radio in Goiânia, which could be certified through interviews and file searches on the topic. The dissertation in collaboration with feminist literature discusses gender relations and issues concerning women. What we found was that in this period the existence of conservative practices in Goiânia. However, women were held as representatives of the song sung live on the radio from Goiania. In this sense, these singers are deserving of history for his memories not be lost in time. / Esta pesquisa teve por finalidade compreender a trajetória das cantoras de rádio em Goiânia durante as décadas de 1950 e 1960 na perspectiva da literatura teórica feminista, levantando e discutindo algumas questões que surgem na relação entre música e história. A pesquisa procurou mostrar, também, como essa relação pode descortinar passados desconhecidos e mostrar, da mesma forma, que a relação música e história é uma oportunidade interdisciplinar de registrar a história e a cultura. A pesquisar, também procurou reconhecer a atuação dessas mulheres cantoras no processo de desenvolvimento das rádios em Goiânia. A escolha do recorte temporal se justifica porque é um período em que prevalece, em Goiânia, a existência das últimas cantoras de rádio no Brasil e, nesse espaço de tempo, ocorreu na cidade supracitada, o último concurso de rainha do rádio no Brasil. O fio condutor da pesquisa concerne às experiências das mulheres cantoras de rádio em Goiânia, o que foi possível ser constatado por meio das entrevistas e pesquisas de arquivos acerca do tema. A dissertação, em articulação com a literatura feminista, abordou temas relativos às mulheres. O que se pode constatar foi a existência de práticas excludentes de uma sociedade conservadora. Porém, as mulheres cantoras de rádio em Goiânia romperam padrões e se realizaram como artistas, contribuindo como as representantes da música cantada ao vivo no rádio entre 1950 e 1960. Nesse sentido, essas cantoras são merecedoras de olhares de historiadores/as para que suas memórias não se percam no tempo.

As flutuações nos níveis dos hormônios sexuais, ao longo da vida do ser humano, trazem modificações anátomo-fisiológicas. Esses hormônios exercem papéis determinantes no desenvolvimento anatômico da laringe e na fisiologia vocal diferindo significativamente entre os sexos o que torna a voz uma característica sexual secundária. Estudos já documentaram a presença e, mais especificamente a localização dos receptores dos hormônios sexuais na laringe e pregas vocais, evidenciando que estes órgãos podem ser responsivos aos hormônios sexuais e sofrerem as conseqüências das flutuações hormonais. Existem algumas divergências quanto ao efeito hormonal sobre a qualidade vocal. Alguns estudos afirmam que ocorrem mudanças na voz relacionadas à menopausa, enquanto outros divergem desses resultados. Tal fato nos leva a questionar se as metodologias utilizadas foram realmente as mais adequadas, uma vez que existem evidências clínicas destas mudanças. São freqüentes as queixas entre as mulheres de alterações vocais após a menopausa, particularmente entre as mulheres cantoras, que enfatizam perdas dos tons agudos. O objetivo deste trabalho foi verificar se há influência dos hormônios sexuais sobre a qualidade vocal da voz cantada de mulheres menopausadas cantoras de coral, através da avaliação da tessitura e do tempo máximo de fonação (TMF). A tessitura corresponde ao número de notas da mais grave até a mais aguda que o indivíduo consegue produzir com qualidade vocal. O tempo máximo de fonação (TMF) avalia a habilidade do paciente em forças aerodinâmicas da corrente pulmonar e as forças mioelásticas da laringe. As voluntárias foram divididas em dois grupos. Grupo jovem (n=8) mulheres com idade entre 20 e 40 anos, que apresentavam ciclos menstruais regulares que não estivessem grávidas ou amamentando durante o estudo. Grupo menopausada (n=22) mulheres com idade de 45 a 60 anos, menopausadas há no mínimo 2 anos que não faziam uso de terapia hormonal (TH). Para mensuração do TMF, foi dada a instrução de inspirar e produzir isoladamente as vogais /a/, /i/ e /u/ e as consoantes fricativas /s/ e /z/ em altura e tons habituais de fala. Para avaliar a tessitura foi escolhida uma música conhecida do folclore brasileiro que exigia as variações de freqüência da mais grave a mais aguda. Os valores de cada nota musical e sua freqüência correspondente em hertz (Hz) foram escritos manualmente. Foram comparados para o grupo jovem e menopausada os valores máximos (F2) e os valores mínimos (F1) e a diferença entre o valor máximo e mínimo (F2-F1) entre os grupos medidos em freqüência (Hz) e em semitons (St), e foram encontradas diferenças significativas entre os grupos. Não foi encontrada diferença significativa entre o grupo jovem e menopausada quando foram comparados o tempo máximo de fonação das vogais /a/, /i/, /u/ e as consoantes /s/ e /z/. Os resultados do presente estudo demonstraram haver diferença significativa na tessitura da voz cantada entre mulheres cantoras de coral jovens e pós-menopausa. Estes resultados sugerem que as alterações na tessitura da voz cantada podem ser decorrentes de modificações fonatórias da articulação, respiração e fonação realizadas durante o canto, influenciadas pelos hormônios sexuais. E não serem atribuídas às alterações nas pregas vocais como edemas, espessamentos e a hiperemia, as quais não foram encontradas ao exame videolaringoscópico e tampouco no TMF quando comparados os grupos jovem e menopausada. / Fluctuations in the levels of sexual hormones, throughout the life of the human being, bring anatomic physiological modifications. These hormones exert determinative papers in the anatomical development of the larynx and in the vocal physiology differing significantly between the sexes becoming the voice a secondary sexual characteristic. Studies already had registered the presence and, more specifically the vocal localization of the receivers of sexual hormones in the larynx and vocal folds, evidencing that these agencies can be responsive to sex hormones and suffer the consequences of the hormonal fluctuations. Some divergences how much the hormonal effect exist on the vocal quality. Some studies affirm that changes in the voice related to the menopause occur, but others had demonstrated different results. Such fact takes in them to question if the used methodologies really had been adjusted a time that exist practical clinical evidences of these changes. The complaints between the women of vocal alterations are after the menopause, particularly between the women singers, who emphasize losses of the acute tones. In literature, however, we do not find references to this fact that are of clinical comment and stories, and for this reason we decide to study this phenomenon. The objective of this work was to verify if it has influence of sexual hormones on the vocal quality of the sung voice of menopausadas women chorale singers, through the evaluation of the tessitura and the maximum phonation time (MPT). The vocal tessitura corresponds to the number of notes from the lowest to the highest that an individual is able to produce with vocal quality. Maximum phonation time (MPT) is used to assess clinically the respiratory and phonatory components of the mechanism of speech production and to demonstrate the efficiency of vocal fold vibration. The volunteers had been divided in two groups. Young group (n=8) women aged 20 to 40 years, with regular menstrual cycles who were not pregnant or breast-feeding during the study. Menopausal group (n=22) women aged 45 to 60 years, who had been in menopause for at least 2 years and who did not use hormonal therapy. For MPT measurement, the women were instructed to inspire and to produce separately the vowels /a/, /i/ and /u/ and the fricative consonants /s/ and /z/ at habitual speech loudness and tones. The voice tessitura profile was obtained evaluation a well known Brazilian folk song which required variations in frequency from the lowest to the highest. The values of each musical note and its corresponding frequency in Hertz (Hz) and semitones (St) were written manually. The maximum (F2) and minimum (F1) values and the difference between them (F2-F1) were compared for the two groups in frequency (Hz) and semitones (St) and significant difference was detected between them. No significant difference was observed between groups when they had been compared for the vowels /a/, /i/ and /u/ and the consonants /s/ and /z/. The results of the present study had demonstrated with there was significant difference in tessitura between young and menopausal women. These results suggest that the alterations in the tessitura of the sung voice can be decurrently of phonatory modifications of the joint, breath and phonation during the sing influenced for sexual hormones. And not attributed to the alterations in the vocal folds as edemas, thicken and the hyperemia, which had not been found to the otorhinolaryngologic evaluation and neither in the MPT when compared young and menopausal women.

In this study I combine music analysis with critical theory to investigate how different conceptions of feminine identity--intersecting with race and class--are materialized through recorded sound. I present interpretive analyses of four popular songs recorded and released between 1967 and 1974: "Baby, I Love You" by Aretha Franklin, "Fist City" by Loretta Lynn, "If I Were Your Woman" by Gladys Knight and the Pips, and "Jolene" by Dolly Parton. My analyses focus on vocal performance, and vocal quality (or timbre) in particular, as I investigate the means by which the sounds of these recordings participate in cultural discourse on gender, sexuality, race, and class. These songs narrate moments in sexual love relationships (the hope of new love or the threat of infidelity), while the performances of each vocalist, the studio musicians, and the work of engineers and producers combine to create representations of black and working-class femininity that express varying degrees of assertiveness and vulnerability in the face of unequal gender power relations. I compare and contextualize these sonic expressions of identity with the personas these vocalists presented in their professional and public lives, illustrating how these recordings participate in the construction of a multi-faceted and always-emergent history of American womanhood. In order to accurately describe the relationship between musical sound and intersectional gender identity, I develop a phenomenological analytic methodology sensitive to how embodied responses (the types of physical engagements invited by sound), associative (or connotative, semiotic) responses, and social and historical context of both the recording and listener all contribute to the process of interpretation. I take my own situated listening experience as the object of study, recognizing how my listening practices and reactions, and overlapping identities--as a white, upper-middle-class woman and music scholar--impact my interpretations of these songs. My focus on the physical engagement inherent in music listening underpins the approach to vocal quality analysis I present at the outset of my study, in which I link descriptive language about voice to the physical components of vocal sound production. In my analyses of lyrics, instrumental quality, dynamics, rhythm, form, pitch, and the sonic "space" afforded by each recording, I continue to attend to the types of embodied and associative responses afforded by each element, demonstrating how an engagement with these sounds informs conceptions of gender identity.

This qualitative, multi-case study examined trans and non-binary singers in the applied voice studio. The purpose of this study was to explore (1) the impact of music participation on the identities of trans and non-binary singers, (2) the experiences of trans and non-binary singers taking private singing lessons, and (3) the strategies and practices of their voice teachers. Purposeful sampling of four singers included two trans men and two non-binary individuals. Four teachers with prior experience in teaching trans or non-binary singers included two teachers identifying as trans men, and two cisgender (one female, one male) teachers. Data were collected through interviews and lesson observations, presented through portraiture analysis to provide an insider’s view of the experiences, perspectives, and practices of the participants. Findings and implications emerged through cross-case analyses. The results indicate that gender impacts musical spaces. While participation in musical activities created an outlet for some singers to explore their trans or non-binary identity, the reification of the gender binary in musical spaces was oppressive for others. Students modeled high self-efficacy by showing perceived competence to change discriminatory policies and practices in music and the performing arts. Teachers demonstrated emotional support in the applied studio by being cognizant of student needs. While the training of each student looked distinct, teachers affirmed students through student-centered pedagogical approaches, allowing students to guide their vocal training and development. Teachers discussed the need for adept understanding of vocal technique in training trans and non-binary singers. All four trans men (two students and two teachers) discussed their voice modification through testosterone replacement therapy. The two non-binary singers, not engaged in medical voice modulation, discussed changes in their voices through singing lessons. The research posits that curricular development in vocal pedagogy courses is needed to educate singing teachers on cultural competency and trans and non-binary vocality. This study revealed the need to examine applied teacher readiness in educating trans and non-binary singing. Research on the longitudinal effects of testosterone on the voice is warranted. Additional scholarship is needed in working with trans or non-binary voices not engaging in hormone replacement therapy.

The problem with which this investigation is concerned is that of developing a theory in vocal pedagogy, voiception, which could provide teaching techniques with tangibility for gaining control of both voluntary and involuntary functions of the singing act. This study appears to show that feeling tone and cognition are innately involved with singing, since the vocal instrument is actually a part of the singer. Analysis of the sung vowel through the singing sensation is the connecting link for gaining control of involuntary vocal functions.

This is a qualitative study that takes a close look at an exemplary performing group, the Brigham Young University Singers. Using the methods of phenomenology and naturalistic inquiry, the author presents a rich, thick description of the daily activities and unique culture of the choir. Both strengths and weaknesses of the group are identified so that others can have an authentic, vicarious experience through reading the Singers' story. The author also identifies seven principles that contribute to the success of the group so that other choral conductors can adapt them to their own unique situations. Educators in all disciplines can benefit from a deeper understanding of this model community of learners.

<p>The present thesis explores factors and processes associated with the artistic profession and development of opera singers. The profession of opera singers has a long story deriving its origin in early 1600s in Italy. What is performed on opera stages today is written in the musical scores in the 18th and 19th century. The question arises how the modern opera singers live, learn and excel in their contemporary pursuit in order to meet the high demands on performance. The initial study identified health issues related to the professional activity of opera singers. Qualitative and quantitative measurements indicated that psychological problems were associated with a distinct worry for possible negative evaluation from significant others and a fear of vocal indisposition. A range of health-promoting activities was demonstrated aiming at preventing the occurrence of somatic problems that could cause vocal indisposition. Psychosocial problems concerned difficulties to maintain a family life and relations due to irregular working hours. In Study II, the psychological and physiological effects of singing lessons were investigated with respect to amateur and professional levels of singing experiences. Amateur singers experienced more well-being measured by self-reports of emotional states and by lower levels of stress hormones than professionals. In Study III, narrative accounts were collected to identify factors and processes in the artistic development during higher opera education. A descriptive model was created that embraced the development of various skills such as singing technique, means of expressiveness and interpersonal skills. Outcome variables from the education were artistic autonomy, artistic competence and change in self-concept. In Study IV, personality characteristics were assessed among elite students in opera and business education representing an artistic versus a traditional educational streaming. Female opera students, female business and male business students shared the personality characteristic of extraversion indicating a disposition towards sensation seeking. Male opera singers exhibited a profile of elevated levels of emotionality. In general, the findings across the studies demonstrate that the individual development of operatic artistry is a complex process where health-related issues, personality characteristics, skills acquisition and sociocultural values are critical constituents. A major result was the marked focus on the instrument per se, the voice. Vocal functioning in singing was described as a means of enabling operatic singing, a mode for artistic expression and indicator of health.</p>

The present thesis explores factors and processes associated with the artistic profession and development of opera singers. The profession of opera singers has a long story deriving its origin in early 1600s in Italy. What is performed on opera stages today is written in the musical scores in the 18th and 19th century. The question arises how the modern opera singers live, learn and excel in their contemporary pursuit in order to meet the high demands on performance. The initial study identified health issues related to the professional activity of opera singers. Qualitative and quantitative measurements indicated that psychological problems were associated with a distinct worry for possible negative evaluation from significant others and a fear of vocal indisposition. A range of health-promoting activities was demonstrated aiming at preventing the occurrence of somatic problems that could cause vocal indisposition. Psychosocial problems concerned difficulties to maintain a family life and relations due to irregular working hours. In Study II, the psychological and physiological effects of singing lessons were investigated with respect to amateur and professional levels of singing experiences. Amateur singers experienced more well-being measured by self-reports of emotional states and by lower levels of stress hormones than professionals. In Study III, narrative accounts were collected to identify factors and processes in the artistic development during higher opera education. A descriptive model was created that embraced the development of various skills such as singing technique, means of expressiveness and interpersonal skills. Outcome variables from the education were artistic autonomy, artistic competence and change in self-concept. In Study IV, personality characteristics were assessed among elite students in opera and business education representing an artistic versus a traditional educational streaming. Female opera students, female business and male business students shared the personality characteristic of extraversion indicating a disposition towards sensation seeking. Male opera singers exhibited a profile of elevated levels of emotionality. In general, the findings across the studies demonstrate that the individual development of operatic artistry is a complex process where health-related issues, personality characteristics, skills acquisition and sociocultural values are critical constituents. A major result was the marked focus on the instrument per se, the voice. Vocal functioning in singing was described as a means of enabling operatic singing, a mode for artistic expression and indicator of health.