• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.22 no.2
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• pp.106-110
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• 2011

Western classical singing voices are different from those of pop song singer's singing voices as well as traditional Korean singing such as Pansori. We anlalysed the singing voices from three different categories with using free application programs available at the usual smart phones : sound level meter and Spectral View Analyzer and fiberoptic rhinolaryngoscopic evaluation. The intensity of voice produced by a classical western singer was 11 dB louder than that produced by a pop song singer. Source sound, glottic sound, as well as harmonic sound and singing resonant sound (Singer's formant) are much more prominent. When evaluated under video-rhinolaryngoscopy during singing, the resonance cavity especially oropharyngeal cavity and hypopharyngeal cavity are widely opened during singing of the western classical singer than those of the traditional Korean singer's singing. Difference of singing methods including producing the glottal sound, respiration and resonance are discussed. Possible explanation of development of 'Singer's Formant' is discussed.

• Phonetics and Speech Sciences
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• v.2 no.4
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• pp.11-18
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• 2010

This study compared classical operatic singing and applied music singing using the vocal assessment software, Dr. Speech and SPEAD from Lx Speech Studio. Participants in this study included: eight female operatic singers (mean 22.6 yrs, average career 7.5 yrs); eight male operatic singers (mean 25.6 yrs, average career 7.3 yrs); eight female applied music singers (mean 25.1 yrs, average career 6.1 yrs); and eight male applied music singers (mean 27.6 yrs, average career 6.8 yrs). The results demonstrated significantly higher closed quotient values in female applied music singers during singing (p<.05). In addition, higher closed quotient values in speaking were presented in male classical singers and longer MPT was obtained in female operatic singers (p<.05). Furthermore, singer's formants were identified in all male operatic singers and in three female operatic singers. In contrast, only one applied music male and one female singer showed singer's formants while singing.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.12 no.1
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• pp.39-45
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• 2001

Background and Objectives : A post-pubescent male classical singer has lower vocal register than a female classical singer. Countertenors who can produce higher vocal register like female classical singers with their falsetto voice and head resonance are recently active. The general purpose of this study is to analyze voice of countertenors and to determine the differences with those of classical singers. Materials and Methods : Four countertenors in Korea were examined using a videostrobos-copy and their voice were analyzed using aerodynamic, acoustic and voice range profile methods. Results and Conclusion : Countertenors could produce elevated fundamental frequency, voice intensity and mean air flow rate using large pulmonary capacity and head voiced falsetto. It means the presence of greater energy in countertenor is due to the more efficient conversion of the air flow to acoustic energy. But, they had unstable amplitude perturbation per each vocal cycle. The results indicated that countertenor is the acoustic products of different laryngeal mechanism with other classical register and it can be recognized as one of the registers of male classical singers.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.2 no.1
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• pp.15-19
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• 1986

Our report refers to occidental vocal techniques from Greece until today. It is remarkable that even with poor anatomy knowledge, there were advices on styles given from very early periods, for both church and secular singing. During the 18th century, the names of "vox pectoris", "vox guturris" and "vox capitis" appear, nominations that somehow remain nowadays with great confusion about source of sound production and results of resonance. Vocal occidental styles developed different kinds of requirements from the singers, that had to adapt their vocal Possibilities to them. The same happened with "pop" song. Nowadays, all kinds of singers must have a conscious knowledge of its voice management to prevent vocal disturbances. We consider that the technique is the same, even when the singer has to sing Wagner, Debussy, Sconberg, Piazzola or Gershwin. The big changes occured at resonance levels, and because these different use of the vocal resonators the effects are quite different. In summary, the big differences on classical the effects are quite different. In summary, the big differences on classical and pop song are done on the different use of the resonators and its effects on the vocal tract. "Pop" singers, men and women, should be taught to use both registers, "modal" and "falsetto" to be able to reach the complete range of their songs without any harm to their larynxes. In our opinion, a good singing technique means that it could be adapted to every stylistic need. The same technique is adapted to the popular singer as well. The main difference lays on the use of resonators, pretty strong in the classic singer, weaken in the popular singer, on the volume and on the total extension of the voice. Breathing control, effortless emission and the use of "passage" at the right point should be taught to all singers, regardless of their style. (omitted)

• Journal of the Chungcheong Mathematical Society
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• v.23 no.4
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• pp.741-748
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• 2010

Let R be a 2-torsionfree prime ring. Our goal in this note is to show that the existence of a nonzero Jordan higher left derivation on R implies R is commutative. This result is used to prove a noncommutative extension of the classical Singer-Wermer theorem in the sense of higher derivations.

• Phonetics and Speech Sciences
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• v.10 no.3
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• pp.49-59
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• 2018

The purpose of this study was to investigate vocal hygiene habits and Korean Voice-Related Quality of Life (K-VRQOL) among classical singers. A total of 128 classical singers filled an online voice and K-VRQOL questionnaire, and the results were analyzed. In order to investigate the characteristics of K-VRQOL according to age groups, and the presence or absence of a history of voice problems, we conducted a two-way ANOVA. The results are as follows. Of the 128 classical singers, 28 (21.9%) with a history of voice problems said that excessive conversation, singing practice, and yelling were the causes of their voice problems. The symptoms of voice problems were fatigue, loss of range, hoarseness, and breathiness. In addition, classical singers were less likely to smoke, or to drink alcohol or caffeine. The K-VRQOL was highly correlated with all sub-domains. There was a statistically significant difference according to age groups (p<.05) and history of voice problems (p<.01). There was no correlation between age groups and history of voice problems. Voice management is important because classical singers can ruin their voice by speaking, and the risk of voice disorder is high. Voice problems affect quality of life. In future studies, it is necessary to obtain information on the subjective voice characteristics of classical singers by examining the relationship between their voice hygiene habits and VHI, SVHI, and K-VRQOL.

• Phonetics and Speech Sciences
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• v.1 no.2
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• pp.163-171
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• 2009

This study attempted to investigate vocal characteristics and differences in gender and voice classification among classical singers. Twenty-three female singers (M = 23.1 yrs, SD = 3.6 yrs, average 6.3 yrs singing experience, all classified as sopranos) and twenty male singers (M = 25.2 yrs, SD= 3.6 yrs, average 6. 3 yrs singing experience, 8 tenors, 12 baritones) were recruited to participate in the present study. Speaking fundamental frequency (FO), closed quotient (CQ), MPT (Maximum Phonation Time), breathing types, maximum inspiratory pressure (MIP), maximum expiratory pressure (MEP), and singers' formants were measured. In addition, vibratory patterns were observed using stroboscopy. Sfo, singing CQ, breathing types, formant frequency in singers' formants, MIP, MEP, and MPT were significantly different from gender to gender. Generally, singers' formants were observed in male singers and also the pattern of singers' formants was different between tenors and baritones. Lower singing CQ values were observed than speaking CQ values in the female singers (P<.001). Furthermore, MEP, MIP, and singing CQ were significantly lower for female singers than for males singers (P<.001). MPT and speaking FO, however, were not significantly different between tenors and baritones.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.11 no.1
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• pp.32-38
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• 2000

Background and Objectives : Voice therapy has been used as a viable adjuvant to surgery and pharmacological therapy fir the management of voice disorders. The singing voice features a special brand of emotion, intensity, and energy so successful therapeutical approach requires the doctor is able to involve himself into the physical and psychic condition and artistic usage of the voice. The purpose of this study was to evaluate the effect and utility of singing therapy as an initial treatment for classically trained singers with voice disorders. Material and method : Twenty-one male and fifty-five female classic singers with voice disorders were treated with singing therapy. At first, abdominal breathing, resonant phonation, and relaxation method was trained, then after accessing each patient's singing abilities, treatment methods for each specific problems was applied. The results were compared according to age, sex, treatment duration, part, laryngeal pathology, patient subjective evaluation, perceptual evaluation of voice, and maximal phonation time. Results : Patients subjective evaluation, perceptual evaluation, pathologic findings of larynx, maximal phonation time showed superior results after singing therapy. Conclusion : Singing therapy changes the mode of respiration and phonation and enhances the vocal function and improves the laryngeal pathology, The result of this study indicate that singing therapy is an effective treatment method that laryngologists can use for classical singers with voice disorders.

• Journal of the Korean Society of Laryngology, Phoniatrics and Logopedics
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• v.10 no.2
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• pp.124-129
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• 1999

Background and Objectives : Classical singers are capable of masking abnormalities due to their high level of training and may present with apparent technical deficits rather than with obvious dysfunction. Therefore, some variations from expected normal laryngeal behavior may be present in trained classical singers. Consequently it is important for otolaryngologist to obtain a baseline assessment of their laryngeal function. Materials and Methods : Acoustic measurement including strobovideolaryngoscopy from 50 classically trained singers was done for this study, which was compared with the data from 20 untrained adults. Results and Conclusion : This study showed that 50-healthy asymptomatic classical singers revealed an incidence of 50% abnormal strobovideolaryngoscopic findings, but their acoustic data was within normal limit despite the abnormal laryngeal findings. Therefore the author recommends that the classical singers need objective voice analysis and their baseline data should be used for the accurate diagnosis of the cause of voice dysfunction In classical singer whose baseline laryngeal behavior may be unusual.

• Proceedings of the KSPS conference
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• 2007.05a
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• pp.261-264
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• 2007

Five males trained singers (age:25.0${\pm}$1.4years, career:6.8${\pm}$1.1 years) and five female trained singers (age:22.0${\pm}$1.0years, career:5.8${\pm}$1.2 years) participated in this study. SaO2(Oxi Hemoglobin saturation) measured by Oxy-Pulse meter and PAC02 (Pressure Alveolar Co2) measured by Quick et CO2 are compared with pre and post vocal training. As the result, PAC02 was lower than normal range (36-40mmHg) after vocal training, leading to Hypocapnia. This causes headache and dizziness