Vocal efficiency is a measure of the efficiency of the energy conversion process from aerodynamic power to acoustic power. Few studies have been conducted to measure vocal efficiency in trained singers to determine whether "vocal athletes" are more efficient than non-singers. Data were collected from 20 trained singers (10 male and 10 female) and 20 non-singers (10 male and 10 female) to determine if there were any significant differences between the two groups. During the recording, each participant produced a series of syllables at combinations of three different levels of pitch and loudness. The acoustic and aerodynamic data were analyzed to reveal any statistically significant differences in vocal efficiency between singers and non-singers. The singers were significantly more efficient than non-singers in only two of the nine conditions. Singers had significantly higher subglottic pressure and resistance values. More differences were found between men and women, in that males produced greater flow, but females consistently produced higher sound pressure level values. Acoustic analyses were also performed and this revealed that singers had significantly greater fundamental frequency variability during speech, as reflected in a higher semitone standard deviation for a reading passage. It was also found that males had higher maximum phonation times and a greater long-term average spectrum standard deviation. Vocal beauty ratings were significantly higher for singers than non-singers.

This study attempted to replicate and expand previously published research in order to increase our understanding of how Vocal Function Exercises (VFE) might improve vocal function in normal voices. Measures were made to reflect potential post-treatment changes in acoustic and aerodynamic variables, including a measure of vocal efficiency. The participants of the study included 35 adults with normal voices. Each completed a series of speech tasks (sustained vowels, maximum phonation time, reading of a standardized passage, and repetition of syllable strings) before and after a four-week treatment period. Testing of pre- and post-treatment data revealed no clear improvement in acoustic and aerodynamic measures of the voice. There were also no significant improvements in vocal efficiency following the VFE. These findings suggest the need for further research to better understand the value of VFE in improving vocal function.

Straw phonation is a semi-occluded vocal tract exercise (SOVTE) that has long been used as a therapeutic device for the voice. The purpose of this study was to compare outcomes following voice lessons that included a straw phonation protocol to those that did not include a protocol. The primary outcome measures were the shortened version of the Singing Voice Handicap Index (SVHI-10), which is a validated health status instrument for singers, and Perceived Vocal Efficiency (PVE). Ten student singers in a large college of music consented into the study and participated in both lesson conditions, serving as their own control. They completed six voice lessons over a six week period with lessons alternating between the straw phonation protocol and no straw phonation protocol conditions. Outcome measures were collected following all six lessons. Repeated measures one-way analysis of variance (RM-ANOVA) revealed no statistically significant effect of the straw phonation protocol on either dependent variable. However, a small effect was found for PVE, indicating that straw phonation led to a perceived improvement in vocal efficiency. There was significant variation in individual responses to straw phonation and participants who had more prior experience with the SOVT experienced less perceptual change across lesson conditions. Most singers reported finding straw phonation a useful addition to their voice lesson and felt it improved their vocal efficiency. These results indicate that straw phonation could be regularly integrated into voice lessons and may be most helpful to students who find the SOVTE worthwhile. Future studies should examine the effects of a similar protocol using multiple SOVTEs, tailored to what is most efficacious for individuals, and should use a separate control group.

<p>I am a practising classical soprano. After more than 20 years of professional singing, I re-trained my voice according to principles of the old Italian school of singing. In this essay, I examine the origins and priciples of bel canto, with special focus on appoggio and chiaroscuro, two key ingredients in the bel cantao tradition. I explore the relationship between science and the craft of singing, and what modern voice science has to say about the efficiency and health aspects of this technique, I also describe the profound effect it has had on me as an artist.</p>

I am a practising classical soprano. After more than 20 years of professional singing, I re-trained my voice according to principles of the old Italian school of singing. In this essay, I examine the origins and priciples of bel canto, with special focus on appoggio and chiaroscuro, two key ingredients in the bel cantao tradition. I explore the relationship between science and the craft of singing, and what modern voice science has to say about the efficiency and health aspects of this technique, I also describe the profound effect it has had on me as an artist.