Introduction:

Vibrato is a hallmark of most western operatic voice traditions, yet singing without it is not often a part of vocal instruction while it is still a large part of choral practice. During choral rehearsals, students are often asked to sing with straight tone— singing without vibrato— sometimes in the extremities of their singing range. Singers receiving classical instruction will have specifically learned to perform using vibrato as a stylistic requirement, however, they may not have learned to sing without it. Without knowledge of how to sing this repertoire with an efficient technique, singers often complain of fatigue or a negative impact on their solo technique. This investigation aims to provide a clearer insight into the coordination differences required between choral and solo classical singing by examining both professional singers and conservatory students that straddle both genres.

Method:

Two singers considered professional in both the classical solo and choral industries, and five undergraduate voice majors at a major collegiate voice program were recruited to investigate measurable differences between their choral and solo singing settings. Data was obtained using surface EMG, EGG, respiratory plethysmography, a Rothenberg CV OroNasal flow mask, and audio recording. Each singer was measured singing in both styles in both a lab setting and performance setting. A validated self-reporting was also administered examining fatigue and effect on solo singing. Statistical tests were performed to compare each group's data between their choral and solo settings, as well comparison between professionals and students within the same style.

Results:

Preliminary results show increased muscle activation in the masseter muscles, scalenes, sternocleidomastoids, and jaw extensors, as well as decreased presence in the singers formant in a choral setting even in professional singers when singing with straight tone. Differences were apparent in breathing patterns and airflow as well. Students reported significantly increased fatigue post choral rehearsal when asked to sing straight tone vs post voice lesson, whereas professional choristers reported no difference in fatigue between solo and choral singing rehearsals.

Conclusion:

Measurements revealed breathing pattern, aerodynamic, and self-reported fatigue and stamina differences suggesting a need for changed practices and overlap between solo-teaching instruction and choral singing instruction in American higher education voice study programs.