Zuim Ana F, Stewart Celia F, Titze Ingo R
Steinhardt School, Department of 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. 2023 Nov 9. doi: 10.1016/j.jvoice.2023.10.023.
To investigate singers' vocal load by documenting three types of vocal doses (time, cycle, and distance doses) and sound pressure levels during the four phases of rehearsal and how the vocal doses vary between singers across rehearsals in the musical Nine, written by Maury Yeston.
METHODS/DESIGN: Five student-singers participating in the musical Nine gave informed consent to participate in the study. All five participants were assigned female at birth and female-identifying individuals. They attached a KayPENTAX APM 3300 dosimeter sensor to their lower neck and wore the accelerometer during four three-hour rehearsals throughout the rehearsal process (the music learning phase, the choreography learning phase, the blocking learning phase, and the dress rehearsal) of the musical. The dosimeter records neck vibrations at a rate of 20 samples per second. but it does not record linguistic content.
A dosimetric analysis of five student singers identified variability in voice production throughout the rehearsal process. According to the dosimetry findings, singers employed extensive low-frequency voicing below the first passaggio, with belting and mixed vocal strategies as the predominant stylistic choices when performing in Nine. Additionally, the singers used an occasional head voice effect at specific moments. The roles of Carla, Saraghina, La Fleur, and Ensemble One and Two required specific vocal ranges due to the musical score.
Researchers have yet to establish a safe baseline vocal dose for singers. The vocal dose is affected by many factors, such as duration of phonation, frequency range, SPL, and styles of vocalism required by the score. Louder and heavier vocalization produces larger distance doses, representing the cumulative load placed on vibrating tissue. The cycle dose, distance dose, and SPL reported in this study varied within and between singers. The phonation density graphs show this variability and the low tessitura required by the score. Time doses ranged from 4% to 7% of rehearsal time; this short dose suggests that the rehearsals provided healthy conditions for the successful rehearsal process with efficient attention to the vocalization of a score that requires heavy vocal styles, including belting. While the rehearsal pace was not alarming, the demands of the score alone may prove to be much greater than the vocal dose reported through the rehearsal. Further studies are needed to establish the overall dose of each Broadway role to serve as parameters for vocal pacing and voice care.
通过记录三种类型的发声剂量（时间、周期和距离剂量）以及在排练的四个阶段中的声压水平，研究歌手的发声负荷，以及在莫里·耶斯顿创作的音乐剧《九》中，歌手在排练过程中发声剂量如何变化。
方法/设计：五名参与音乐剧《九》的学生歌手知情同意参与该研究。所有五名参与者出生时被指定为女性且自我认同为女性。他们在音乐剧的整个排练过程（音乐学习阶段、舞蹈编排学习阶段、走位学习阶段和彩排）的四次三小时排练中，将凯鹏华盈APM 3300剂量计传感器附着在他们的下颈部并佩戴加速度计。剂量计以每秒20个样本的速率记录颈部振动，但不记录语言内容。
对五名学生歌手的剂量分析确定了整个排练过程中发声的变异性。根据剂量测定结果，歌手在第一个换声区以下广泛使用低频发声，在表演《九》时，以高音唱法和混合发声策略作为主要的风格选择。此外，歌手在特定时刻偶尔会使用头声效果。由于乐谱的原因，卡拉、萨拉吉娜、拉弗勒以及第一和第二合唱团的角色需要特定的音域。
研究人员尚未为歌手确定安全的发声剂量基线。发声剂量受许多因素影响，如发声持续时间、频率范围、声压水平以及乐谱要求的发声风格。更大声、更重的发声会产生更大的距离剂量，代表对振动组织施加的累积负荷。本研究中报告的周期剂量、距离剂量和声压水平在歌手内部和歌手之间都有所不同。发声密度图显示了这种变异性以及乐谱要求的低音域。时间剂量占排练时间的4%至7%；这个较短的剂量表明，排练为成功的排练过程提供了健康的条件，同时有效地关注了需要重发声风格（包括高音唱法）的乐谱发声。虽然排练节奏并不惊人，但仅乐谱的要求可能就比排练中报告的发声剂量要大得多。需要进一步的研究来确定每个百老汇角色的总体剂量，以作为发声节奏和嗓音护理的参数。
