Steinhardt School, Music and Performing Arts Professions, New York University, New York City, New York.
Steinhardt School, Department of Communicative Sciences and Disorders, New York University, New York City, New York.
J Voice. 2024 Jan;38(1):53-68. doi: 10.1016/j.jvoice.2021.08.006. Epub 2021 Oct 5.
To document and quantify vocal dose and student-singers' self-assessment during rehearsals for a contemporary musical theater production.
METHODS/DESIGN: Six student singers fastened the sensor from the KayPentax APM 3200 dosimeter to the lower neck to capture neck vibration data during their preparation for the musical Wonderland by Frank Wildhorn. Data were collected during 8-hour periods, at four different stages throughout the rehearsal process: beginning (music and choreography learning phase), middle (staging phase), and end (running the entire show/dress rehearsal phase), plus a post-production day once the production had concluded to establish a baseline vocal load. Students concurrently completed the EASE questionnaire after each data collection day.
The EASE score (Appendix 1) and demographics/perceptual questionnaire (Appendix 2) revealed that all subjects (three males and three females) found the singing role vocally and physically demanding but only two found the roles to be emotionally challenging. The musical score demanded a higher usage of chest register (judged perceptually) than mixed register from lead singers. All subjects' maximum fundamental frequency range exceeded the pitch range required by the score. The mean daily vibration dose (distance dose, as computed with Kay Pentax Software) of the three individual female singers' during rehearsals, 5,203 meters, was higher than the mean daily dose of the three male singers, 3,766 meters. The subjects' self-ratings on the EASE were not correlated with the distance dose.
A review of Wonderland's score and perceptual judgment of the singers' performances revealed extensive use of chest register, with belting and mix vocal strategies being the predominant stylistic choices. Students described the singing roles' vocal and physical requirements as more challenging than the character's emotional components. This pilot study provides information on the vocal dose for lead and ensemble singers in rehearsal for a Contemporary Musical Theatre production. Singers and voice professionals may find dosimetry a valuable tool for monitoring the vocal dose during rehearsals and performances.
记录并量化参与当代音乐剧排练的声乐学生的发声剂量和自我评估。
方法/设计：六名学生歌手将 KayPentax APM 3200 剂量计的传感器固定在颈部下方，以在为音乐剧《仙境》（Frank Wildhorn 创作）做准备时捕捉颈部振动数据。在排练过程的四个不同阶段（学习音乐和舞蹈阶段、排练阶段、演出阶段和演出后一天）收集了 8 小时的数据。学生们在每次数据收集后同时完成 EASE 问卷。
EASE 评分（附录 1）和人口统计学/感知问卷（附录 2）显示，所有学生（三名男性和三名女性）都认为演唱角色在发声和体力方面都具有挑战性，但只有两名学生认为角色在情感方面具有挑战性。音乐评分要求主唱更多地使用胸声（从感知上判断），而不是混合声区。所有学生的最大基频范围都超过了乐谱所需的音域。三位女性独唱歌手在排练期间的平均日振动剂量（KayPentax 软件计算的距离剂量）为 5203 米，高于三位男性歌手的平均日剂量 3766 米。学生的 EASE 自评与距离剂量无关。
对《仙境》乐谱的审查和对歌手表演的感知判断表明，广泛使用了胸声区，其中使用了哼唱和混合发声策略。学生们认为演唱角色的发声和体力要求比角色的情感部分更具挑战性。这项初步研究为当代音乐剧排练中的主唱和合唱歌手的发声剂量提供了信息。歌手和声乐专业人士可能会发现剂量计是监测排练和表演中发声剂量的有用工具。
