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Does singing promote well-being?: An empirical study of professional and amateur singers during a singing lesson.

This study explored the possible beneficial effects of singing on well-being during a singing lesson. Eight amateur (2m, 6f, age 28-53 yrs) and eight professional (4m, 4f, age 26-49 yrs) singers who had been attending singing lessons for at least six months were included. Continuous ECG was recorded and computerized spectral analysis was performed. Serum concentrations of TNF-alpha, prolactin, cortisol, and oxytocin were measured before and 30 min after the lesson. Five visual analogue scales (VAS, sad-joyful, anxious-calm, worried-elated, listless-energetic, and tense-relaxed) were scored before and after the lesson. In addition, a semi-structured interview was performed. Heart rate variability analyses showed significant changes over time in the two groups for total power, and low and high frequency power. Power increased during singing in professionals, whereas there were no changes in amateurs. This indicates an ability to retain more "heart-brain connection." i.e., more cardio-physiological fitness for singing in professional singers, compared to amateur singers. Serum concentration of TNF-alpha increased in professionals after the singing lesson, whereas the concentration in amateurs decreased. Serum concentrations of prolactin and cortisol increased after the lesson in the group of men and vice versa for women. Oxytocin concentrations increased significantly in both groups after the singing lesson. Amateurs reported increasing joy and elatedness (VAS), whereas professionals did not. However, both groups felt more energetic and relaxed after the singing lesson. The interviews showed that the professionals were clearly achievement-oriented, with focus on singing technique, vocal apparatus and body during the lesson. The amateurs used the singing lessons as a means of self-actualization and self-expression as a way to release emotional tensions. In summary, in this study, singing during a singing lesson seemed to promote more well-being and less arousal for amateurs compared to professional singers, who seemed to experience less well-being and more arousal.

Adult↗
PubMed2003

Potential factors related to untrained singing talent: a survey of singing pedagogues.

A national survey was conducted to identify factors associated with untrained singing talent based on perceptions obtained from a homogeneous group of professional singing pedagogues. Survey items included questions related to the perception of singing talent, factors associated with untrained singing talent, and physiological variables that distinguished untrained singing talented individuals from those without obvious singing talent. The survey data suggested that intonation, timbre, and musicality were rated the most important factors associated with the perception of singing talent in an untrained individual. Environmental influences and genetics were rated most important for explaining why one individual would express singing talent and another would not. In addition, the data suggested that abilities related to the control of pitch distinguished untrained talented individuals from those without singing talent more than other physiological variables.

Adult↗
PubMed2004

Measuring the tuning accuracy of thousands singing in unison: an English Premier Football League table of fans' singing tunefulness.

Tunefulness in singing is well understood in the context of solo stage performance, singing in small groups and singing in choirs, with or without accompaniment, and it can be readily measured under laboratory conditions. When thousands of people are singing outside in support of their football team, however, the singing is impromptu; there is no conductor, no starting note, and generally no accompaniment. This paper describes the measurement of the tunefulness of the singing of fans of the twenty clubs in the 2001-2002 English Premier League. The technique adopted is unusual in that it makes direct reference to the formal definition of pitch as a subjective phenomenon. The results are presented in the form of a 2001-2002 English Premier League football fans singing league table.

Acoustics↗
PubMed2003

Pitch matching accuracy of trained singers, untrained subjects with talented singing voices, and untrained subjects with nontalented singing voices in conditions of varying feedback.

At a physiological level, the act of singing involves control and coordination of several systems involved in the production of sound, including respiration, phonation, resonance, and afferent systems used to monitor production. The ability to produce a melodious singing voice (eg, in tune with accurate pitch) is dependent on control over these motor and sensory systems. To test this position, trained singers and untrained subjects with and without expressed singing talent were asked to match pitches of target pure tones. The ability to match pitch reflected the ability to accurately integrate sensory perception with motor planning and execution. Pitch-matching accuracy was measured at the onset of phonation (prephonatory set) before external feedback could be utilized to adjust the voiced source, during phonation when external auditory feedback could be utilized, and during phonation when external auditory feedback was masked. Results revealed trained singers and untrained subjects with singing talent were no different in their pitch-matching abilities when measured before or after external feedback could be utilized. The untrained subjects with singing talent were also significantly more accurate than the trained singers when external auditory feedback was masked. Both groups were significantly more accurate than the untrained subjects without singing talent.

Adult↗
PubMed2006

The singing power ratio as an objective measure of singing voice quality in untrained talented and nontalented singers.

A growing body of contemporary research has investigated differences between trained and untrained singing voices. However, few studies have separated untrained singers into those who do and do not express abilities related to singing talent, including accurate pitch control and production of a pleasant timbre (voice quality). This investigation studied measures of the singing power ratio (SPR), which is a quantitative measure of the resonant quality of the singing voice. SPR reflects the amplification or suppression in the vocal tract of the harmonics produced by the sound source. This measure was acquired from the voices of untrained talented and nontalented singers as a means to objectively investigate voice quality differences. Measures of SPR were acquired from vocal samples with fast Fourier transform (FFT) power spectra to analyze the amplitude level of the partials in the acoustic spectrum. Long-term average spectra (LTAS) were also analyzed. Results indicated significant differences in SPR between groups, which suggest that vocal tract resonance, and its effect on perceived vocal timbre or quality, may be an important variable related to the perception of singing talent. LTAS confirmed group differences in the tuning of vocal tract harmonics.

Acoustics↗
PubMed2001

The effects of solo singing, choral singing and swimming on mood and physiological indices.

The effects of solo singing, choral singing and swimming on mood and physiological indices were compared. Engaging in these activities reduced tense arousal and increased energetic arousal, positive hedonic tone and heart rate. Effects were greater for swimming than for singing, with little difference between choral and solo singing. Possible mechanisms and the implications for mental well-being are discussed.

Adolescent↗
PubMed2001

The effects of solo singing, choral singing and swimming on mood and physiological indices.

The effects of solo singing, choral singing and swimming on mood and physiological indices were compared. Engaging in these activities reduced tense arousal and increased energetic arousal, positive hedonic tone and heart rate. Effects were greater for swimming than for singing, with little difference between choral and solo singing. Possible mechanisms and the implications for mental well-being are discussed.

Journal Article↗
PubMed2000

Acoustic analysis of the singing and speaking voice in singing students.

The singing power ratio (SPR) is an objective means of quantifying the singer's formant. SPR has been shown to differentiate trained singers from nonsingers and sung from spoken tones. This study was designed to evaluate SPR and acoustic parameters in singing students to determine if the singer-in-training has an identifiable difference between sung and spoken voices. Digital audio recordings were made of both sung and spoken vowel sounds in 55 singing students for acoustic analysis. SPR values were not significantly different between the sung and spoken samples. Shimmer and noise-to-harmonic ratio were significantly higher in spoken samples. SPR analysis may provide an objective tool for monitoring the student's progress.

Acoustics↗
PubMed1996

Singing power ratio: quantitative evaluation of singing voice quality.

This paper presents a parameter for objectively evaluating singing voice quality. Power spectrum of vowel sound /a/ was analyzed by Fast Fourier Transform. The greatest harmonics peak between 2 and 4 kHz and the greatest harmonics peak between 0 and 2 kHz were identified. Power ratio of these peaks, termed singing power ratio (SPR), was calculated in 37 singers and 20 nonsingers. SPR of sung /a/ in singers was significantly greater than in nonsingers. In singers, SPR of sung /a/ was significantly greater than that of spoken /a/. By digital signal processing, power spectrum of sung /a/ was varied, and the processed sounds were perceptually analyzed. SPR had a significant relationship with perceptual scores of "ringing" quality. SPR provides an important quantitative measurement for evaluating singing voice quality for all voice types, including soprano.

Adult↗
PubMed2004

Hormonal modulation of singing: hormonal modulation of the songbird brain and singing behavior.

During the past three decades research on the hormonal control of singing has fundamentally altered our basic concepts about how hormones modulate brain function and activate behavior. Exciting discoveries first documented in songbird brains have since been documented in a wide variety of vertebrate species, including humans. Circulating hormones organize sexual dimorphisms in brain structure during development, activate changes in brain structure during adulthood, and modulate the addition of new neurons in the adult brain. The brain has proved to be the primary source of estrogens in general circulation in adult male finches. Studies of the hormonal modulation of singing are complicated by multiple sites of hormone production, multiple sites of hormone action, hormone metabolism by different tissues, the involvement of a variety of hormones, and the effects of social context. This chapter provides a brief review of these topics, as well as a brief overview of techniques used to study endocrine mechanisms controlling behavior.

Animals↗
PubMed2003

[Oropharyngeal vocal tract space during singing--comparison of tactile-kinesthetic and auditory perception with objective endoscopic findings].

BACKGROUND: In this study we compared the perceived diameter of the vocal tract's oropharyngeal part with the diameter that was determined endoscopically. METHODS: 28 singers (13 male, 15 female) were examined with transnasal fiberscopic pharyngoscopy while singing the vowels /a/, /i/ and /u/ in 4 different timbres (normal, opened, covered, dumpled) and 3 different pitches (chest/modal register, subjective comfortable pitch for singing, head/falsetto register). The tactile-kinesthetic and auditive rating of the singers, the auditive rating of a singing teacher and the visual-endoscopic analysis of three laryngologists were compared. RESULTS: The tactile-kinesthetic and auditory self-perception of the singers was quite different from the auditive perception of a singing teacher and visual endoscopic findings of the laryngologists. The singers had the impression that the different singing timbres (normal, opened, covered, dumpled) influence oropharyngeal vocal tract space during singing. They judged the vowel itself and the pitch as having very little influence. Based on his auditory perception, the singing teacher also rated that the timbre plays an important role for the oropharyngeal vocal tract space but he found vowels to be the parameter with the greatest impact. Via visual endoscopic examination we found that, among the three parameters (vowel, timbre, pitch), the different vowels are most influential on the oropharyngeal vocal tract space. Analysis of video sequences revealed that pitch and timbre are less important. CONCLUSION: Subjective tactile-kinesthetic and auditory perception of the singers differs from auditory perception of the singing teacher as well as from endoscopic findings. The endoscopically determined oropharyngeal vocal tract space during singing the vowels /i/ or /u/ tends to be larger compared to the oropharyngeal vocal tract space while singing the vowel /a/.

Adult↗
PubMed2004

The impact of group singing on mood, coping, and perceived pain in chronic pain patients attending a multidisciplinary pain clinic.

This study explored the impact of group singing on mood, coping, and perceived pain in chronic pain patients attending a multidisciplinary pain clinic. Singers participated in nine 30-minute sessions of small group singing, while comparisons listened to music while exercising. A short form of The Profile of Mood States (POMS) was administered before and after selected singing sessions to assess whether singing produced short-term elevations in mood. Results indicated that pre to post difference scores were significantly different between singing and control groups for only one of the 15 mood variables (i.e., uneasy). To test the longer term impacts of singing the Profile of Mood States, Zung Depression Inventory, Pain Self-Efficacy Questionnaire, Pain Rating Self-Statement, and Pain Disability Questionnaire were administered immediately before and after the singing sessions. All inventories other than the POMS were re-administered 6 months later. One-way ANCOVAs indicated that participants who attended the singing sessions showed evidence of postintervention improvements in active coping, relative to those who failed to attend, when preintervention differences in active coping were controlled for. While the singing group showed marked improvements from pre to postintervention on all mood, coping, and perceived pain variables, these improvements were also observed among comparison participants. The results of this study suggest that active singing may have some benefits, in terms of enhancing active coping, though the limitations of the study and small effect sizes observed suggest that further research is required to fully explore such effects.

Adaptation, Psychological↗
PubMed1996

Effect of instruction to sing on stuttering frequency at normal and fast rates.

Singing as a fluency-enhancing mechanism is well-established. The fluency derived by singing has been attributed to a reduced speech rate, memorized material, semantically reduced content, and an imposed rhythm. In this study, we attempted to address each of these explanations. 12 participants who stuttered were instructed to read or sing each of four different passages under the following conditions: reading at a normal rate, reading at a fast rate, singing at a normal rare, and singing at a fast rate. Participants exhibited a statistically significant increase in disfluencies while reading, i.e., participants displayed a 75% reduction in disfluency in the singing condition relative to the reading condition. There was no difference in stuttering frequency with rate conditions. Current findings suggest that stutterers are capable of internally generating fluent speech production by imposing idiosyncratic melodic structures or some derivation of melody when asked simply to sing. There is no claim that these participants were singing, as skills and capabilities varied tremendously, only that participants achieved dramatic enhancement of fluency after they were just asked to sing. Thus, the only intervening variable was the instruction to sing, which suggests the attempt to follow the instruction, no matter how futile, generated fluent speech. Since fluency was maintained in both the normal and fast rates of production, alternate central mechanisms must be held accountable for these findings.

Adolescent↗