Belting and pop, nonclassical approaches to the female middle voice: Some preliminary considerations

doi:10.1016/S0892-1997(05)80344-3

Journal of Voice

Volume 7, Issue 2, June 1993, Pages 142-150

https://doi.org/10.1016/S0892-1997(05)80344-3 Get rights and content

Summary

There is a commonly perceived difference in the sound produced in the approximate range D₄-D₅ by female singers in the western opera and concert tradition, on the one hand, and certain other styles, including rock, pop, folk, and some Broadway musicals, on the other. The term “belting” is sometimes used to refer to at least one approach to such “nonclassical” singing. In this study, based on spectrographic, electroglottographic, and sub- and supraglottal pressure measurements on representative voices of the “operatic” and “nonclassical” tradition, acoustic and laryngeal differences between the two traditions are described, and an objective, specific definition of “belting” is offered.

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Cited by (46)

Acoustical Theory of Vowel Modification Strategies in Belting
2023, Journal of Voice
Various authors have argued that belting is to be produced by “speech-like” sounds, with the first and second supraglottic vocal tract resonances ( $f_{R 1}$ and $f_{R 2}$ ) at frequencies of the vowels determined by the lyrics to be sung. Acoustically, the hallmark of belting has been identified as a dominant second harmonic, possibly enhanced by first resonance tuning ( $f_{R 1} \approx 2 f_{o}$ ). It is not clear how both these concepts – (a) phonating with “speech-like,” unmodified vowels; and (b) producing a belting sound with a dominant second harmonic, typically enhanced by $f_{R 1}$ – can be upheld when singing across a singer’s entire musical pitch range. For instance, anecdotal reports from pedagogues suggest that vowels with a low $f_{R 1}$ , such as [i] or [u], might have to be modified considerably (by raising $f_{R 1}$ ) in order to phonate at higher pitches. These issues were systematically addressed in silico with respect to treble singing, using a linear source-filter voice production model. The dominant harmonic of the radiated spectrum was assessed in 12987 simulations, covering a parameter space of 37 fundamental frequencies ( $f_{o}$ ) across the musical pitch range from C3 to C6; 27 voice source spectral slope settings from $-$ 4 to $-$ 30 dB/octave; computed for 13 different IPA vowels. The results suggest that, for most unmodified vowels, the stereotypical belting sound characteristics with a dominant second harmonic can only be produced over a pitch range of about a musical fifth, centered at $f_{o} \approx 0.5 f_{R 1}$ . In the [ɔ] and [ɑ] vowels, that range is extended to an octave, supported by a low second resonance. Data aggregation – considering the relative prevalence of vowels in American English – suggests that, historically, belting with $f_{R 1} \approx 2 f_{o}$ was derived from speech, and that songs with an extended musical pitch range likely demand considerable vowel modification. We thus argue that – on acoustical grounds – the pedagogical commandment for belting with unmodified, “speech-like” vowels can not always be fulfilled.
The Use of Vibrato in Belt and Legit Styles of Singing in Professional Female Musical-Theater Performers
2022, Journal of Voice
Musical theater (MT) performers are required to sing in several different styles, requiring different registration (quality) and different use of vibrato. Many measures of vibrato in MT performers are made in laboratory settings, studying a limited set of pitches, intensities, and vowels, using amateur and not well-defined professional singers. It is unclear if these observations are observed in well-known professional MT singers, during live instrumentally accompanied legit and belt performances.
Descriptive from a convenience sample.
Five well-known MT performers’ recordings of one legit and one belt performance were downloaded for analysis of vocal vibrato. The vocal part was extracted from the recording and each note demarcated with and without vibrato. The pitch track of each note was analyzed for average pitch, duration, the proportion of a note sung with vibrato, if present, and written to file. The pitch track (f0 and time stamps) was written to a separate file for further analysis. This analysis consisted of vibrato rate (Hz), vibrato extent (semitones), and cycle-to-cycle perturbation (jitter-local and shimmer-local).
The most consistent finding was that the belt performances of the five singers had lesser proportion of notes sung with vibrato than their legit performances. The next consistent finding was that during belt performances, when vibrato was used, it was for a shorter duration within a note. There was a trend for the average rate of vibrato to be slower in the belt performances, but not to a substantial degree. There was no clear difference between legit and belt performances for vibrato extent or cycle-to-cycle perturbation.
For these five performers, the strategy for the use of vibrato most often employed for differentiating the two singing styles was using less vibrato and when used to engage it for a shorter portion of a sung note. We believe this study offers reasonable ecological validity in how professional MT performers utilize vibrato to distinguish between belt and legit styles of singing. Vibrato rate and extent are subject to a number of factors which may not be in direct control of the singer. However, learning to sing with and without vibrato and the duration to which it is produced within a note may be a useful training strategy for students of MT.
Three Professional Singers’ Vocal Tract Dimensions in Operatic Singing, Kulning, and Edge—A Multiple Case Study Examining Loud Singing
2022, Journal of Voice
A comprehensive understanding of how vocal tract dimensions vary among different types of loud voice productions has not yet been fully formed. This study aims to expand the existing knowledge on the topic.
Three trained professional singers together practiced the vocal techniques underlying Opera and Kulning singing styles for one hour and, afterwards, phonated using these techniques on vowel [iː] at pitch C5 (523 Hz), while their vocal tracts were scanned via MRI. One of the participants also produced the samples in the Edge vocal mode using [ɛː]. Several dimensional vocal tract measurements were calculated from the MRIs. Spectral analysis was conducted on the filtered audio recorded during the MRI.
The Operatic technique demonstrated a lower larynx, a larger tongue–palate distance, and larger epilaryngeal and pharyngeal tube diameters compared to Kulning. Edge showed the highest laryngeal position, narrowest pharynx and epilarynx tubes, and the least forward-tilted larynx out of the styles studied. The spectra of Opera and Kulning showed a dominant first harmonic, while in Edge, the second harmonic was the strongest.
The results shed light on the magnitude of vocal tract changes necessary for genre-typical vocal projection. This information can be pedagogically helpful.
Acoustic Comparison of Lower and Higher Belt Ranges in Professional Broadway Actresses
2020, Journal of Voice
Citation Excerpt :
The most widely accepted acoustical definition of a belt involves a boosted second harmonic. Schutte and Miller concluded that acoustically, belting needs a raised first formant to match the second harmonic on open vowels.6 Titze also states that it is “well established” that a belt sound requires a strong second harmonic.7
Current research on the female belt voice has generally been limited to the range of C5, which is not representative of the current requirements on Broadway. Additionally, much belt research uses voice teachers or college students. The goal of this study was to acoustically examine both higher and lower belt ranges in 10 women who have performed belt roles on Broadway during the last decade.
We analyzed the long-term average spectrum of the middle stable portion of three belted pitches, one from a lower, more traditional belt song and two from a higher, more contemporary belt song. The dB levels of the first three peaks in the long-term average spectrum corresponding to the first three harmonics were extracted and compared across tasks. Age, professional roles played on Broadway, and self-perceived belt strategy were obtained via interview to find potential unifying factors in resonance strategies.
Overall, the dB level of the peaks closest to the second and third harmonics were higher than the peak close to the fundamental frequency. The difference between peaks was statistically greater in the lower belt compared to both higher belt tasks, indicating these singers relied more on a single harmonic in the lower belt range than the higher belt range. In the higher belt range, there was less variability between peaks. No patterns emerged between resonance strategies and demographic information.
Elite female belters use varying resonance strategies to create commercially viable belt sounds in different belt ranges.
Prevalence of and Risk Factors for Self-Reported Voice Problems Among Carnatic Singers
2020, Journal of Voice
Citation Excerpt :
The mean prevalence of self-reported dysphonia was found to be 46% in a recent systematic review and meta-analysis of the prevalence of VPs in singers.21 All these studies suggest that the higher prevalence of self-reported VPs in a different group of singers and the rate of prevalence is highly variable as voice use and vocal demands are diverse in different singing styles.22 Hence, investigating the prevalence and possible risk factors for VPs in different groups of singers is important for the prevention and management of VPs.
Unlike Western opera singing, Carnatic singing requires powerful low pitched, loud voice. Singing in the right Shruti or pitch and appropriate breathing is given the main emphasis in this style of music. The present study was conducted to explore the prevalence of and possible risk factors for the self-reported voice problem (VP) in Carnatic singers.
This cross-sectional survey was conducted by distributing the self-reporting questionnaires to 190 Carnatic singers in and around the Mysuru and Bengaluru districts of Karnataka state, India, from December 2016 to April 2017.
The Carnatic singers were found to have high career (35%) and point (23%) prevalence rates of VP. Clenching of teeth, frequent cold, difficulty in hearing, stress related to the profession, and regular intake of medications for different health-related problems were some of the risk factors found to have a significant association with high prevalence of self-reported VPs. Around 22% of the Carnatic singers missed at least 2–5 singing performances due to VP during their career.
Overall, the results of this study reveal a high prevalence rate of self-reported VP in Carnatic singers, and they also suggest that the VPs are associated with different risk factors like any other form of singers. Further studies are needed to understand the effect of VP and to prevent it in this group of professional voice users.
Investigating Laryngeal “Tilt” on Same-pitch Phonation—Preliminary Findings of Vocal Mode Metal and Density Parameters as Alternatives to Cricothyroid-Thyroarytenoid “Mix”
2019, Journal of Voice
The objective of this work was to study the parameters “metal” and “density” and their combinatory conditions in relation to the vocal modes Overdrive, Edge, and Curbing from the pedagogical method Complete Vocal Technique by means of laryngostroboscopic imaging, high-speed videoendoscopy, electroglottography (EGG), long-time-average spectrum (LTAS), and acoustics.
This is a three-subject exploratory study.
Three singers were recorded performing various metal and density conditions of Overdrive, Edge, and Curbing from the Complete Vocal Technique method by means of laryngostroboscopic imaging using a videonasoendoscopic camera system and the Laryngostrobe program, high-speed videoendoscopy, EGG, LTAS, and acoustic signals using SpeechStudio.
A laryngeal tilt was discovered as related to the condition of “reduced density” on same-pitch phonation, with observations of the thyroid cartilage tilting forward, stretching of the mucosa covering the cricoid-arytenoid complex and the posterior cricoid, and an upward posterior, slightly superior, contraction of the middle constrictor muscle in the pharyngeal wall. A resulting associated reduced contact quotient was observed on EGG, as well as a lowered mean sound pressure level. On LTAS, the laryngeal tilt was associated with a decrease of spectral energy in areas between the 7th and the 20th harmonic. The subjects of the study were able to perform the tilt without changing pitch or volume.
Singers can perform laryngeal tilt during same-pitch phonation in the vocal modes Overdrive, Edge, and Curbing. The parameters of density and metal establish a more precise and anatomically grounded terminology than “mix register.”

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^*: Results of this study were presented at the XXth Annual Symposium: Care of the Professional Voice, Philadelphia, Pennsylvania, July 1991.

View full text

Belting and pop, nonclassical approaches to the female middle voice: Some preliminary considerations*

Summary

Singing styles on Broadway

NATS J

Singing styles on Broadway

NATS J

The Broadway voice, Part 1: Just singin' in the pain

High Fidelity Magazine

The Broadway voice, Part 2: Just singin' in the pain

High Fidelity Magazine

Acoustic study of register equalization in singing

Folia Phoniatr (Basel)