• Phonetics and Speech Sciences
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• v.10 no.4
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• pp.135-146
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• 2018

The Modified Voiced Lip Trill (MVoLT) training is a variant of voiced lip-till training characterized by increased loudness, lowered laryngeal position, and lip contact facilitated with fingers. The purpose of the current study was to assess the effect of the MVoLT training program on vocal changes of musical singing theater students. A total of 32 musical theater students (17 males and 15 females, age ranging from 18 to 29) participated in the study. For about three months, each participant was tutored using a systematic program focussing on the MVoLT training, accompanied by certain facilitating strategies. Pre- & post-training multi-dimensional vocal characteristics were assesed and compared. Results showed that cepstral peak prominence during vowel phonation increased after training, while its standard deviation and Cepstral Spectral Index of Dysphonia decreased. When an aerodynamic assessment was performed, maximum phonation time, subglottal pressure, mean airflow rate increased, while electroglottographic measures did not change. In addition, decreased psychometric measures, higher maximum pitch, and increased vocal range were noted after training. In conclusion, the MVoLT was proven to have a potential as an effective and safe training method for musical theater singing.

• Phonetics and Speech Sciences
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• v.14 no.2
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• pp.55-65
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• 2022

This study aimed to compare acoustic measurements by the high, middle, and low laryngeal heights of male musical theater students. Furthermore, the correlation between the relative height of the larynx and the acoustic measurements was examined, along with the predictability of the relative height (vertical position) of the larynx from acoustic measurements. The participants included five male students majoring in musical theater singing, and acoustic analysis was performed by having them produce the /a/ vowel 10 times each at the laryngeal positions of high, middle, and low. The relative vertical positions of the laryngeal prominence in each position were measured based on the resting position. Results indicated that the relative position of the larynx varied significantly according to laryngeal height, such that as the larynx descended, the first three formant frequencies decreased while the spectral energy at the same frequencies increased. Formant frequencies showed a weak to moderate positive correlation with the relative height of the larynx, while the spectral energy showed a moderate negative correlation. The relative height of the larynx was predicted by eight acoustic measures (adjusted R² = .829). In conclusion, the predictability of the relative height of the larynx was partially confirmed in a non-invasive manner.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.91-102
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• 2020

The purpose of this study is to analyze musical songs from an academic perspective by applying vocal techniques that can express songs in depth in three dimensions. Singing a musical song cannot be completed with just the musical part, rather, it should be accompanied by the analysis of various aspects such as the emotional state of the scenes and the characters. To this end, this study performed a multi-dimensional analysis of fields such as theatrical structure, lyrics, musical structure, and dynamics. In addition, the study explored and applied Estill Voice Training(EVT) that actors can best express songs with the emotions of the theater and music. EVT categorizes voice into six tones: speech, sob/cry, falsetto, twang, opera, and belting. In this study, in addition to these six sounds, the positions of vocal cords and larynx were also applied to seek ways to effectively express songs using "Gar Nichts" from the musical "Elisabeth" as a case study. "Gar Nichts" is a song sung by the protagonist Elisabeth, which expresses the self and the conflict at the peak of pain. Musically, this song requires various sound and voice-changing techniques to cover the range of "G#3-Gb5." As a result, it was confirmed that in order to embody the emotions of the characters and the songs in depth, the analysis of scenes and characters as well as various singing techniques need to be applied in harmony.