Ergonomy and Muscular Dissociation: Tools to Optimize Singing Performance

Minas Gerais, Brazil.
Keywords: Voice, Singing, Training, Ergonomy

Objectives: To contribute with singers’ longevity in their vocal performance without developing problems caused by muscular tension, inadequate postural patterns or breathing/support technique. The main goal is to present concepts and ergonomic principles that may result in a more general, plastic and economic singing technique.

Introduction: Determined vocal maneuvers are prominent from an individual’s anthropological background. The absence of such background, makes necessary a didactic-pedagogic intervention to develop access memories aiming to find the best muscular adjustments for whatever is intended, whether it’s vocal effects, timbre, distortions (drives), execution of vocal schemes, projection, speed ornaments, long note sustention amongst others. Despite the fact this intervention is a real need in a singer’s life, it is very common that this individual will seek these adjustments “by chance”, trying to reach his goals by himself, which can bring technical and health problems such as early fatigue or phonation issues. When observing a singer during a presentation, it is not uncommon to notice various unnecessary movements. These movements are often unconscious, by the need of compensating lack in motor conjunct action, fact that is worsened when singing is associated to playing an instrument. The inadequate postural patterns may be easily spotted, but it is generally hard to interpret and correct without an expert’s look.

Methods: Sample is composed by high performance singers: Ball Singers, Opera soloists, Rock singers and Singing teachers that execute 1 to 3 concerts a week with average duration of 2h 30m or more than 4 concerts a week with average duration of 2hrs, with no vocal pathology but presenting fatigue during or after shows.
These singers were submitted to a 6 week training of exercises that favor relaxing and develop an increased body awareness, inducting the participant to manipulate only the essential muscles to sing with the less effort possible. Some of the exercises involve balance, breathing and directing the airflow adequately, Alexander technique and yoga. The idea is to map and deconstruct involuntary/unnecessary movements and contractions that may jeopardize performance. The proper use of these resources may favor an increment in cognitive function and in technical/vocal/preformistic learning process.

Results: There was a significant reduce in fatigue, recovery time and hoarseness after concerts. The singing teachers reported reduction in complaints about cervical and low back pain and singers that use lots of vocal crossover due to varied repertoire also showed a better overall performance.