Singing CAN Objectively Be Measured
Singing is a complex learned skill (a phrase I believe I first heard from Dr. Feierabend) like figure skating or acrylic painting. Execution of the main four elements of singing (respiration, phonation, articulation, and resonation) can be measured with instruments such as a spectrogram, spirometer, electroglottograph, etc. It is, in fact, a measurable skill. One which we can objectively assign specific levels of mastery.
So what is it exactly that we want to measure and why? I will address these two things separately.
1. We can measure breath efficiency. A singer's breath, more specifically, how coordinated their respiratory system is, will determine: if they can complete medium to long phrases, if they can maintain vitality in their tone on a sustained pitch, if they can move their voice flexibility in coloratura passages or riffs, and most importantly, if they can coordinate it with their phonatory system. Efficient breathing in singing is the most critical aspect of singing, and is not unlike breathing for highly athletic activities like HIIT workouts, swimming, running and crossfit. Conscientious control of breathing is critical. Most folks, musically trained or not, can sense when a singer is connected to their breath and when they are not. It is a common human experience that we share.
2. We can measure the amount of air pressure above and below the vocal folds. Pressure, resistance, and flow determine any given sound's output. It is a delicate science to figure out how much resistance vs flow one needs for their own instrument... and where they must change their pressure in specific parts of their voice. In classical singing, the goal is to create an acoustic output to the listener that seems seamless, as if the voice is one homogenous sound. In other genres like, MT, the tonal goal varies: sometimes it is to be brassy, other times it is to be excessively breathy, and other times, it is to sound like a Disney princess. To produce those sounds, knowingly or not, we are manipulating our vocal tract (the space/cavity above the larynx). In order to manipulate our vocal tract, we need to know what it feels and sounds like.
3. We can measure a vowel's acoustic properties. Why on earth do we care?! Because you sustain your tone on vowels and understanding the production of those vowels is critical to your singing. Knowing where the tongue is supposed to be helps aerodynamics and the proper muscles to engage. Again, just like sports, you can hyper or hypo function muscle groups. This, we know, often leads to injury. Same goes for singing.
This brings me to the why of it all: anyone can learn how to sing. Singing is not a talent bestowed above a select number of individuals. Are some folks predisposed to a certain sound or certain capabilities due to the design of their vocal tract and mouths? Yes. Are some folks predisposed to early musical experiences that have a profound effect on their musical mastery? Yes. BUT, we are neurologically flexible creatures (see: myelin) with the ability to form new neurological pathways to learn new complex skills. Anyone can sing and anyone can be taught how to sing.
By Aquegg - Own work, Public Domain, https://commons.wikimedia.org/w/index.php?curid=5544473
So what is it exactly that we want to measure and why? I will address these two things separately.
1. We can measure breath efficiency. A singer's breath, more specifically, how coordinated their respiratory system is, will determine: if they can complete medium to long phrases, if they can maintain vitality in their tone on a sustained pitch, if they can move their voice flexibility in coloratura passages or riffs, and most importantly, if they can coordinate it with their phonatory system. Efficient breathing in singing is the most critical aspect of singing, and is not unlike breathing for highly athletic activities like HIIT workouts, swimming, running and crossfit. Conscientious control of breathing is critical. Most folks, musically trained or not, can sense when a singer is connected to their breath and when they are not. It is a common human experience that we share.
2. We can measure the amount of air pressure above and below the vocal folds. Pressure, resistance, and flow determine any given sound's output. It is a delicate science to figure out how much resistance vs flow one needs for their own instrument... and where they must change their pressure in specific parts of their voice. In classical singing, the goal is to create an acoustic output to the listener that seems seamless, as if the voice is one homogenous sound. In other genres like, MT, the tonal goal varies: sometimes it is to be brassy, other times it is to be excessively breathy, and other times, it is to sound like a Disney princess. To produce those sounds, knowingly or not, we are manipulating our vocal tract (the space/cavity above the larynx). In order to manipulate our vocal tract, we need to know what it feels and sounds like.
3. We can measure a vowel's acoustic properties. Why on earth do we care?! Because you sustain your tone on vowels and understanding the production of those vowels is critical to your singing. Knowing where the tongue is supposed to be helps aerodynamics and the proper muscles to engage. Again, just like sports, you can hyper or hypo function muscle groups. This, we know, often leads to injury. Same goes for singing.
This brings me to the why of it all: anyone can learn how to sing. Singing is not a talent bestowed above a select number of individuals. Are some folks predisposed to a certain sound or certain capabilities due to the design of their vocal tract and mouths? Yes. Are some folks predisposed to early musical experiences that have a profound effect on their musical mastery? Yes. BUT, we are neurologically flexible creatures (see: myelin) with the ability to form new neurological pathways to learn new complex skills. Anyone can sing and anyone can be taught how to sing.
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