The standard vocal repertoire for soprano requires use of the uppermost segment of the female voice, which is typically produced using whistle register phonation. Voice teachers recognize that sopranos use whistle register phonation during performance to produce pitches in the highest segment of their range; however, the use of whistle register phonation as a training tool for female singers of all voice types is less common and the benefits of using whistle registration exercises to condition the female voice are not widely known. While several pedagogical manuals recommend vocal exercises that use whistle register phonation in the range of the second passaggio and in the highest segment of the female voice, no research has been conducted to investigate the benefits of singing in whistle register. The purpose of this study was to measure the efficacy of vocal exercises that incorporate whistle register phonation as treatment for poor intonation and pressed and/or breathy vocal quality in female singers with vocal challenges in the second passaggio of their voice. The influence of whistle register phonation on extending vocal range was also investigated. A treatment-no treatment (ABAB) research design was used. Five female vocalists attended 16 weekly sessions. During the treatment phases, participants received weekly instruction in vocal exercises using whistle register phonation and practiced these activities daily. Audio samples of two vocal exercises and a repertoire excerpt were collected weekly. Measurements taken during the treatment phases were compared to measurements taken during the no-treatment phases. Results of comparative Voice Range Profiles and a weekly Range Extension Measurement Task showed a positive relationship between practice of whistle register exercises and an increase in the upper pitch range in all subjects. Subjects gained an average of 2.4 semitones during Treatment Phase 1, when the whistle register tasks were introduced. Subjects lost an average of 1.2 semitones during the No Treatment phase, when the practice of whistle register tasks was withdrawn. Subjects gained an average of 2.2 semitones during Treatment Phase 2, when the whistle register tasks were reintroduced. The average overall gain in the upper pitch range was +4.3 semitones for mezzo-sopranos and +2 semitones for sopranos. In addition, data collected to measure the pitch range over which whistle register phonation was possible showed an average range of 14 semitones (D5 - E6); supporting the notion that whistle register phonation is possible in the range of the second passaggio and could be developed in this range by female singers of all voice types. Eight voice teachers rated each audio sample for intonation and vocal quality during register transition through the second passaggio. Mixed-model ANOVA (analysis of variance) was conducted to compare the effect of whistle register phonation exercises on quality of intonation, vocal quality, the presence and severity of breathiness, and the presence and severity of strain at each phase of the study. Significance was determined at the p<.05 level. There was a significant effect of whistle register phonation exercises on severity of Breathiness [F(3,209) = 6.66, p = 0.0003]. Mean severity ratings for Breathiness for all subjects were significantly lower during No Treatment than in Treatment Phase 1 and Treatment Phase 2, suggesting that breathiness was less severe when the subjects were not practicing whistle register exercises. Severity of strain generally decreased continually throughout all phases. Mean severity ratings for Strain were consistently lower for Treatment Phase 1, No Treatment, and Treatment Phase 2 compared to Baseline. The differences between Treatment Phase 1, No Treatment, and Treatment Phase 2 were statistically significant [F(3,209) = 3.52, p = 0.0161]. Mean Intonation ratings generally increased through Treatment Phase 1 and were significantly higher for the No Treatment phase and Treatment Phase 2 compared to Baseline [F(3,209) = 2.99, p = 0.0322]. The effect of whistle register phonation exercises on vocal quality was not significant at the p<.05 level. A Pearson Correlation Coefficient (PCC) was used to calculate the intra-judge reliability for perceptual evaluation of all vocal tasks. Statistical analysis comparing the judges' ratings for identical audio samples shows that in this study the judges were consistent in their rating of Breathiness (PCC = 0.76) and had difficulty rating Strain (0.57), Vocal Quality (0.60), and Intonation (0.65). A PCC was used to calculate the correlations between each pair of judges' rating for all vocal tasks, and Cronbach's Alpha was used as an overall measure of the inter-rater reliability. Statistical analysis comparing the judges' ratings for all audio samples shows that in this study the judges were consistent in their rating of Breathiness (α = 0.80), mediocre in rating Strain (0.62) and Vocal Quality (0.69), and not consistent in their rating of Intonation (0.53). The results of the current study suggest that whistle register exercises can be used to facilitate range extension for all female voice types. That performance of whistle register phonation exercises correlated to increased breathiness implies that the exercises tested in this study may not be an effective treatment for singers with breathy voices. Further research investigating the influence of whistle register exercises on intonation, overall vocal quality, and severity of strain is needed. Results of the intra- and inter-rater reliability tests demonstrate a need for research that explores more reliable ways to quantify perceptual evaluation of vocal quality in singers.

abstract: The teaching of singing remained remarkably stable until, at the end of the twentieth century, advances in the understanding of voice science stimulated dramatic changes in approach to vocal pedagogy. Previously, the technology needed to accurately measure physiologic change within the larynx and breath-support musculature during the process of singing simply did not exist. Any prior application of scientific study to the voice was based primarily upon auditory evaluation, rather than objective data accumulation and assessment. After a centuries-long history, within a span of twenty years, vocal pedagogy evolved from an approach solely derived from subjective, auditory evidence to an application grounded in scientific data. By means of analysis of significant publications by Richard Miller, Robert Sataloff, and Ingo Titze, as well as articles from The Journal of Singing and The Journal of Voice, I establish a baseline of scientific knowledge and pedagogic practice ca. 1980. Analysis and comparison of a timeline of advancement in scientific insight and the discussion of science in pedagogical texts, 1980-2000, reveal the extent to which voice teachers have dramatically changed their method of instruction. I posit that voice pedagogy has undergone a fundamental change, from telling the student only what to do, via auditory demonstration and visual imagery, to validating with scientific data how and why students should change their vocal approach. The consequence of this dramatic pedagogic evolution has produced singers who comprehend more fully the science of their art. / Dissertation/Thesis / D.M.A. Music 2013

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This monograph is a review of the general state of vocology as it relates to the singing voice. It provides a working resource guide for singing voice professionals. Specifically, it presents the available technology, medical applications, and educational opportunities in the field of vocology. Having a central resource such as this allows voice professionals to more easily understand the interrelated portions of their parent field (vocology) and to access and navigate the resources available to them. Furthermore, the review raises awareness of the areas requiring further development in the field and brings to light many potential opportunities for collaborations among professionals. / Music Performance

The efficacy of aural modeling in music education at the primary and secondary levels is well documented, and anecdotal evidence among university studio voice teachers abounds. However, this topic has not previously been explored with undergraduate level singers using acoustic analysis of the singing voice. This investigation utilized a survey on listening behaviors to examine undergraduate voice students’ use of recorded aural models. In addition, an empirical study measured the effect of repeated exposure to recorded aural models on participants’ vocal production. Research was conducted at Southwestern University, a private liberal arts institution in Georgetown, Texas. Study participants were divided into two groups. The control group performed a newly-composed melody after a recorded aural model of the melody was played a single time. The experimental group completed 10-minute listening assignments once a day for a five-day period before performing the same melody. Data between the non-listening and listening groups was compared. Using a second newly composed melody, the control group then completed a five-day listening assignment and performed the second melody. Pre- and post-listening data from this group of subjects was compared. Listening assignments were adapted from a speech pathology remediation technique known as auditory bombardment. They involved listening to multiple repetitions of the recorded aural model without attempting to practice singing the melody. The study measured four acoustic parameters: musical accuracy (pitch and rhythm), vowel/consonant articulation, use of vibrato, and ratio of power between overtones above and below 2 kHz. The listening behavior survey revealed that most students use recorded aural models in their practice time. However, results indicated that students would benefit from professional quality aural models and specific information about appropriate time parameters for listening activities. Results of the empirical study revealed a statistically significant 20-30% improvement in vocal production in both the experimental listening group and the control group post-listening. These data demonstrate that focused periods of listening to an aural model are effective in improving vocal production, even within a short period of time. The results of this study support the inclusion of aural modeling in the applied voice studio. / text

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