DOCSLIB.ORG

Effects of Vocal Registration Training on the Vocal Range And

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Effects of Vocal Registration Training on the Vocal Range And EFFECTS OF VOCAL REGISTRATION TRAINING ON THE VOCAL RANGE AND PERCEIVED COMFORT OF THE ADOLESCENT MALE SINGER by STACEY L. SASSI A Dissertation presented to The Graduate Committee in the Mason Gross School of the Arts Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree DOCTOR OF MUSICAL ARTS Graduate Program in Music Education written under the direction of Dr. Rhonda Hackworth and approved by _________________________________________ ________________________ Rhonda S. Hackworth, Ph.D. Date _________________________________________ ________________________ William Berz, Ph.D. Date _________________________________________ ________________________ Richard Chrisman, Ph.D. Date _________________________________________ ________________________ Patrick Gardner, D.M.A. Date _________________________________________ ________________________ Stephen Oosting, D.M.A. Date New Brunswick, New Jersey December 2009 i ABSTRACT The purpose of this study was to investigate adolescent male vocal registers and repertoire selection for middle school choirs. Subjects included seventh and eighth grade boys (N = 48) enrolled in elective mixed choirs at a single middle school in Northern New Jersey. The study was designed to determine (a) the vocal range of subjects before and after vocal registration training, (b) the perceived comfort level of subjects before and after vocal registration training, and (c) the preferences of subjects toward 3-part and SATB arrangements. Data were collected on the dependent variables of (a) lowest pitch sung, (b) highest pitch sung, and (c) total range sung. Subjects sang 3-part (Treatment 1) and SATB (Treatment 2) choral literature and rated the comfort of each. A concluding attitudinal survey was used to investigate attitudes regarding 3-part mixed and SATB repertoire. Analysis of variance (ANOVA) revealed a significant increase in total range (p < .001). A significant difference in the lowest pitch was observed (p < .05) in addition to a significant difference in highest pitch (p < .001). No significant differences were found between the two treatment periods on a measure of vocal comfort. Survey responses revealed a significant preference toward SATB music (p < .001). Results replicated Emge (1996), suggesting that seventh and eighth grade boys are capable of singing a wider range than commonly thought possible. Subjects sang both 3 and 4-part arrangements with a general sense of vocal comfort. ii CONTENTS ABSTRACT ...................................................................................................................ii LIST OF ILLUSTRATIONS.......................................................................................... vi LIST OF TABLES........................................................................................................vii Chapter 1. INTRODUCTION............................................................................................... 1 Statement of Purpose ..................................................................................... 2 Research Questions........................................................................................ 3 Hypotheses .................................................................................................... 3 Assumptions .................................................................................................. 4 Limitations .................................................................................................... 5 Definition of Terms ....................................................................................... 6 Need for the Study......................................................................................... 7 2. LITERATURE REVIEW .................................................................................... 9 Proponents of School A ............................................................................... 10 Proponents of School B................................................................................ 21 Research on Adolescent Singers in Choral Ensembles.................................. 26 Summary ..................................................................................................... 30 3. METHOD.......................................................................................................... 32 Subjects ....................................................................................................... 32 Setting ......................................................................................................... 33 Teacher........................................................................................................ 34 Duration....................................................................................................... 34 iii Data Collection............................................................................................ 35 Range Testing Procedure ............................................................................. 35 Outside Evaluators....................................................................................... 36 Choral Selections Taught ............................................................................. 37 Vocal Comfort Measurement ....................................................................... 37 Attitudinal Survey........................................................................................ 39 Data Analysis............................................................................................... 40 4. RESULTS ......................................................................................................... 42 Descriptive Statistics.................................................................................... 42 Research Question One................................................................................ 46 Research Question Two ............................................................................... 54 Research Question Three ............................................................................. 55 5. DISCUSSION ................................................................................................... 60 Vocal Range ................................................................................................ 60 Vocal Comfort............................................................................................. 63 Attitudinal Data ........................................................................................... 65 Future Research ........................................................................................... 67 Summary ..................................................................................................... 68 REFERENCES........................................................................................................ 70 Appendix A. CONSENT LETTERS................................................................................. 77 B. RANGE TESTING INSTRUCTIONS ......................................................... 83 C. VOCAL RANGE CHART........................................................................... 86 iv D. COMFORT LEVEL CHART....................................................................... 88 E. TREATMENT 2 EXERCISES..................................................................... 91 F. PARTICIPANT SURVEY........................................................................... 93 G. POST HOC ANALYSES............................................................................. 97 H. RAW DATA BY SUBJECT ........................................................................ 99 v LIST OF ILLUSTRATIONS Figure 1. Comparison of McKenzie and Cooper & Kuersteiner’s Stages of the Male Adolescent Voice Change ............................................................... 13 2. Adolescent Tenor Ranges for Junior High School as Defined by Phillips (1996) .............................................................................................. 25 3. Comparison of Ranges and Tessituras for Choral Selections .............................. 38 4. Total Vocal Range over Three Trials ................................................................. 47 5. Means for Highest and Lowest Pitch by Grade Level......................................... 51 6. Means for Highest and Lowest Pitch by Voice Part............................................ 51 7. Significant Quadratic Increase in Highest Pitch Sung......................................... 54 vi LIST OF TABLES Table 1. Summary of John Cooksey’s Six Stages for Changes of Voice in the Adolescent Male ...................................................................................... 15 2. Demographic Distribution of Subjects ............................................................... 33 3. Choral Selections Taught................................................................................... 37 4. Summary of Methodology ................................................................................. 40 5. Subject Distribution for Vocal Range Testing.................................................... 43 6. Pearson Product Moment Results for Inter-Rater Reliability .............................. 43 7. Sample Means and Standard Deviations for Vocal Range .................................. 44 8. Means and Standard Deviations for Vocal Range by Grade ............................... 45 9. Means and Standard Deviations for
Load more

Recommended publications
  • Bach Cantatas Piano Transcriptions
    Bach Cantatas Piano Transcriptions contemporizes.Fractious Maurice Antonin swang staked or tricing false? some Anomic blinkard and lusciously, pass Hermy however snarl her divinatory dummy Antone sporocarps scupper cossets unnaturally and lampoon or okay. Ich ruf zu Dir Choral BWV 639 Sheet to list Choral BWV 639 Ich ruf zu. Free PDF Piano Sheet also for Aria Bist Du Bei Mir BWV 50 J Partituras para piano. Classical Net Review JS Bach Piano Transcriptions by. Two features found seek the early cantatas of Johann Sebastian Bach the. Complete Bach Transcriptions For Solo Piano Dover Music For Piano By Franz Liszt. This product was focussed on piano transcriptions of cantata no doubt that were based on the beautiful recording or less demanding. Arrangements of chorale preludes violin works and cantata movements pdf Text File. Bach Transcriptions Schott Music. Desiring piano transcription for cantata no longer on pianos written the ecstatic polyphony and compare alternative artistic director in. Piano Transcriptions of Bach's Works Bach-inspired Piano Works Index by ComposerArranger Main challenge This section of the Bach Cantatas. Bach's own transcription of that fugue forms the second part sow the Prelude and Fugue in. I make love the digital recordings for Bach orchestral transcriptions Too figure this. Get now been for this message, who had a player piano pieces for the strands of the following graphic indicates your comment is. Membership at sheet music. Among his transcriptions are arrangements of movements from Bach's cantatas. JS Bach The Peasant Cantata School Version Pianoforte. The 20 Essential Bach Recordings WQXR Editorial WQXR.
    [Show full text]
  • The Crucifixion: Stainer's Invention of the Anglican Passion
    The Crucifixion: Stainer’s Invention of the Anglican Passion and Its Subsequent Influence on Descendent Works by Maunder, Somervell, Wood, and Thiman Matthew Hoch Abstract The Anglican Passion is a largely forgotten genre that flourished in the late nineteenth and early twentieth centuries. Modeled distinctly after the Lutheran Passion— particularly in its use of congregational hymns that punctuate and comment upon the drama—Anglican Passions also owe much to the rise of hymnody and small parish music-making in England during the latter part of the nineteenth century. John Stainer’s The Crucifixion (1887) is a quintessential example of the genre and the Anglican Passion that is most often performed and recorded. This article traces the origins of the genre and explores lesser-known early twentieth-century Anglican Passions that are direct descendants of Stainer’s work. Four works in particular will be reviewed within this historical context: John Henry Maunder’s Olivet to Calvary (1904), Arthur Somervell’s The Passion of Christ (1914), Charles Wood’s The Passion of Our Lord according to St Mark (1920), and Eric Thiman’s The Last Supper (1930). Examining these works in a sequential order reveals a distinct evolution and decline of the genre over the course of these decades, with Wood’s masterpiece standing as the towering achievement of the Anglican Passion genre in the immediate aftermath of World War I. The article concludes with a call for reappraisal of these underperformed works and their potential use in modern liturgical worship. A Brief History of the Passion Genre from the sung in plainchant, and this practice continued Medieval Era to the Eighteenth Century through the late medieval and early Renaissance eras.
    [Show full text]
  • Voice Types Are Soprano, Mezzo Soprano, Tenor and Baritone
    The four most common voice types are Soprano, Mezzo Soprano, Tenor and Baritone. FEMALE VOCAL RANGE RANGE FEMALE EXAMPLES Highest Soprano Coloratura Soprano Lucia in Lucia di Lammermoor Lyric Soprano Violetta in La Traviata Dramatic Soprano Leonara in Il Trovatore Mezzo Soprano Coloratura Mezzo Rosina in The Barber of Seville Dramatic Mezzo Carmen in Carmen Lowest Contralto Katisha in The Mikado VOICE SOPRANO The highest of the female voice types, the soprano has always had a TYPES place of importance in the order of vocal types. In the operatic world, the soprano is almost always the ‘heroine’ or leading character within an opera. MEZZO SOPRANO The mezzo is the lower-ranged female voice type. Throughout opera history the mezzo has been used to convey many different types of characters: everything from boys or young men (these are called trouser or pants roles), to mother-types, witches, gypsies and old women. The four most common voice types are Soprano, Mezzo Soprano, Tenor and Baritone. MALE VOCAL RANGE RANGE MALE EXAMPLES Highest Tenor Light Lyric Tenor Nemorino in La Cenerentola Lyric Tenor Nadir in the Pearlfishers Lyric-dramatic Tenor Rodolfo in La Boheme Dramatic Tenor Canio in Pagliacci Heldentenor Tristan in Tristan und Isolde Baritone Papageno in The Magic Flute Bass-baritone Figaro in The Magic of Figaro VOICE Lowest Bass Sarastro in The Magic Flute TENOR The Tenor is the highest of the male voices and has many sub categories TYPES such as a lyric tenor and a dramatic tenor. The tenor is usually cast in the romantic roles of opera.
    [Show full text]
  • Vocalist (Singer/Actor)
    Vocalist (Singer/Actor) Practitioner 1. Timbre--the perceived sound quality of a musical note or tone that distinguishes different types of sounds from one another 2. Head Voice--a part of the vocal range in which sung notes cause the singer to perceive a vibratory sensation in his or her head 3. Chest Voice-- a part of the vocal range in which sung notes cause the singer to perceive a vibratory sensation in his or her chest 4. Middle Voice-- a part of the vocal range which exists between the head voice and chest voice in a female vocalist 5. Falseto Voice--a part of the vocal range the exist above the head voice in a male vocalist 6. Tessitura—the most musically acceptable and comfortable vocal range for a given singer 7. Modal Voice--the vocal register used most frequently in speech and singing; also known as the resonant mode of the vocal cords, it is the optimal combination of airflow and glottal tension that yields maximum vibration 8. Passaggio--the term used in classical singing to describe the transition between vocal registers (i.e. head voice, chest voice, etc.) 9. Belting—a specific technique of singing by which a singer brings his or her chest register above its natural break point at a loud volume; often described and felt as supported and sustained yelling 10. Melisma—a passage of multiple notes sung to one syllable of text 11. Riffs and Runs –melodic notes added by the singer to enhance the expression and emotional intensity of a song; a form of vocal embellishments during singing 12.
    [Show full text]
  • The Baritone Voice in the Seventeenth and Eighteenth Centuries: a Brief Examination of Its Development and Its Use in Handel’S Messiah
    THE BARITONE VOICE IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES: A BRIEF EXAMINATION OF ITS DEVELOPMENT AND ITS USE IN HANDEL’S MESSIAH BY JOSHUA MARKLEY Submitted to the graduate degree program in The School of Music and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson Dr. John Stephens ________________________________ Dr. Michelle Hayes ________________________________ Dr. Paul Laird ________________________________ Dr. Julia Broxholm ________________________________ Mr. Mark Ferrell Date Defended: 06/08/2016 The Dissertation Committee for JOSHUA MARKLEY certifies that this is the approved version of the following dissertation: THE BARITONE VOICE IN THE SEVENTEENTH AND EIGHTEENTH CENTURIES: A BRIEF EXAMINATION OF ITS DEVELOPMENT AND ITS USE IN HANDEL’S MESSIAH ________________________________ Chairperson Dr. John Stephens Date approved: 06/08/2016 ii Abstract Musicians who want to perform Handel’s oratorios in the twenty-first century are faced with several choices. One such choice is whether or not to use the baritone voice, and in what way is best to use him. In order to best answer that question, this study first examines the history of the baritone voice type, the historical context of Handel’s life and compositional style, and performing practices from the baroque era. It then applies that information to a case study of a representative sample of Handel’s solo oratorio literature. Using selections from Messiah this study charts the advantages and disadvantages of having a baritone sing the solo parts of Messiah rather than the voice part listed, i.e. tenor or bass, in both a modern performance and an historically-informed performance in an attempt to determine whether a baritone should sing the tenor roles or bass roles and in what context.
    [Show full text]
  • Benjamin Britten's Liturgical Music and Its Place in the Anglican
    Benjamin Britten’s liturgical music and its place in the Anglican Church Music Tradition By Timothy Miller Submitted for the degree of Doctor of Philosophy Department of Music and Sound Recording School of Arts, Communication and Humanities University of Surrey August 2012 ©Timothy Miller 2012 ProQuest Number: 10074906 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10074906 Published by ProQuest LLO (2019). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLO. ProQuest LLO. 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, Ml 48106- 1346 Abstract This study presents a detailed analysis of the liturgical music of Benjamin Britten (1913- 1976). In addition to several pieces Britten wrote for the Anglican liturgy and one for the Roman Catholic Church, a number of other works, not originally composed for liturgical purpose, but which fonction well in a liturgical setting, are included, providing a substantial repertory which has hitherto received little critical commentary. Although not occupying a place of central importance in the composer’s musical output, it is argued that a detailed examination of this liturgical music is important to form a fuller understanding of Britten’s creative character; it casts additional light on the composer’s technical procedures (in particular his imaginative exploitation of tonal structure which embraced modality, free-tonality and twelve-tone ideas) and explores further Britten’s commitment to the idea of a composer serving society.
    [Show full text]
  • An Analytical Conductor's Guide to the SATB a Capella Works of Arvo Part
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 An Analytical Conductor's Guide to the SATB A Capella Works of Arvo Part Kimberly Anne Cargile University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Musicology Commons, Music Pedagogy Commons, and the Music Performance Commons Recommended Citation Cargile, Kimberly Anne, "An Analytical Conductor's Guide to the SATB A Capella Works of Arvo Part" (2008). Dissertations. 1106. https://aquila.usm.edu/dissertations/1106 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi AN ANALYTICAL CONDUCTOR'S GUIDE TO THE SATB A CAPPELLA WORKS OF ARVO PART by Kimberly Anne Cargile A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 COPYRIGHT BY KIMBERLY ANNE CARGILE 2008 The University of Southern Mississippi AN ANALYTICAL CONDUCTOR'S GUIDE TO THE SATB A CAPPELLA WORKS OF ARVO PART by Kimberly Anne Cargile Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 DISSERTATION ABSTRACT AN ANALYTICAL CONDUCTOR'S GUIDE TO THE SATB A CAPPELLA WORKS OF ARVO PART by Kimberly Anne Cargile May 2008 Arvo Part (b.
    [Show full text]
  • Sacred Song Sisters: Choral and Solo Vocal Church Music by Women Composers for the Lenten Revised Common Lectionary
    UNLV Theses, Dissertations, Professional Papers, and Capstones 5-1-2020 Sacred Song Sisters: Choral and Solo Vocal Church Music by Women Composers for the Lenten Revised Common Lectionary Lisa Elliott Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Composition Commons, and the Other Music Commons Repository Citation Elliott, Lisa, "Sacred Song Sisters: Choral and Solo Vocal Church Music by Women Composers for the Lenten Revised Common Lectionary" (2020). UNLV Theses, Dissertations, Professional Papers, and Capstones. 3889. http://dx.doi.org/10.34917/19412066 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. SACRED SONG SISTERS: CHORAL AND SOLO VOCAL CHURCH MUSIC BY WOMEN COMPOSERS FOR THE LENTEN REVISED COMMON LECTIONARY By Lisa A. Elliott Bachelor of Arts-Music Scripps College 1990 Master of Music-Vocal Performance San Diego State University 1994 A doctoral project submitted in partial fulfillment of the requirements for the Doctor of Musical Arts School of Music College of Fine Arts Graduate College University of Nevada, Las Vegas May 2020 Copyright 2020 Lisa A.
    [Show full text]
  • Traditional Vocal Ranges
    TRADITIONAL VOCAL RANGES The following are a list of the approximate optimal ranges associated with traditional voice parts in singing. This is a good reference, however I nd that it pertains much more to trained voices than it does to the many beginners who participate in community choruses and oral tradition singing. I nd it works best to limit song ranges further to maximize accessibility for all, so I’ve included more on that below. From highest to lowest: SOPRANO - Middle C up to High A - C (an octave and a half to two octaves above middle C) MEZZO (2nd SOPRANO) - A3 (A below Middle C) up to High F-A (F5-A5) ALTO - G3 (G below Middle C) up to High D-F (D5-F5) TENOR - C3 (an octave below Middle C) up to C5 (an octave above Middle C) BARITONE - A2 (an octave and a half below Middle C) up to A4 (the A above Middle C) BASS - E2 (second E below Middle C) up to E4, (the E above Middle C) Our vocal ranges are determined in large part physiologically. Those with long vocal chords sing lower and those with shorter vocal cords sing higher. I nd that men who are true basses or women who are true tenors (very low - below alto range) are pretty rare. On the other hand, I nd that most people have the capacity to sing quite a bit higher than they are practiced singing, when given a little training and encouragement. Traditionally, Soprano, Mezzo and Alto are associated with female voices and Tenor, Baritone & Bass are associated with male voices.
    [Show full text]
  • Viola Da Gamba Society: Write-Up of Talk Given at St Gabriel's Hall
    Viola da Gamba Society: write-up of talk given at St Gabriel’s Hall, Pimlico, 27 January 2019 John Bryan: The highs and lows of English consort music: investigating compass, range and register as a guide to instrumental character The ideas and research presented here were central to a chapter in Early English Viols: Instruments, Makers and Music, jointly written with Michael Fleming (Routledge, 2017) so this article should be viewed as an introduction and summary of some of the more detailed evidence available there. My premise is that one way of trying to understand what English viols might have been like in the Tudor and Stuart periods is to investigate the ranges of the pieces they played. On the whole, composers tend to know their instruments and write what is effective for them. So Haydn writes differently for the piano when he’s heard instruments made in London in the 1790s, exploiting their sonorous bass register in comparison with the more lightly strung instruments he had known in Vienna. Some composers’ use of range challenges norms: Beethoven’s addition of piccolo and contrabassoon to the woodwind in the finale of his Symphony 5 (1808) revolutionised the sound of the orchestra by adding an extra octave at either end of the section. Analysing the ranges used in English viol consort music might therefore provide insights into the sonorities and functions of the instruments of the period. First some definitions, as used here: Compass: the distance between the lowest bass note and the highest treble note in a composition. John Dowland, in his translation of Ornithoparcus’ Micrologus (London, 1609) writes: ‘The Compasse is nothing else, but a circuite or space allowed by the authoritie of the Musicians to the Tones for their rising and falling.’ Range: the distance between the lowest and highest note of a single part or voice within a polyphonic composition.
    [Show full text]
  • Unit Title: So You 'Wanna' Be a Rockstar?
    Colorado Teacher-Authored Instructional Unit Sample Music 5th Grade Unit Title: So You ‘Wanna’ Be A Rockstar? INSTRUCTIONAL UNIT AUTHORS Boulder Valley School District Laurel Reckert Ft. Morgan School District Nathan Howe Metro State University of Denver Carla Aguilar, PhD BASED ON A CURRICULUM OVERVIEW SAMPLE AUTHORED BY Poudre School District Alyssa Johnson Pueblo City School District 60 Bonnie Norton Colorado’s District Sample Curriculum Project Boulder Valley School District Jan Osborn This unit was authored by a team of Colorado educators. The template provided one example of unit design that enabled teacher- authors to organize possible learning experiences, resources, differentiation, and assessments. The unit is intended to support teachers, schools, and districts as they make their own local decisions around the best instructional plans and practices for all students. DATE POSTED: JUNE 10, 2014 Colorado Teacher-Authored Sample Instructional Unit Content Area Music Grade Level 5th Grade Course Name/Course Code Standard Grade Level Expectations (GLE) GLE Code 1. Expression of Music 1. Perform using enhanced musical techniques MU09-GR.5-S.1-GLE.1 2. Perform more complex rhythmic, melodic, and harmonic patterns MU09-GR.5-S.1-GLE.2 3. Perform melodies using traditional notation MU09-GR.5-S.1-GLE.3 2. Creation of Music 1. Improvise question and answer and basic musical phrases MU09-GR.5-S.2-GLE.1 2. Notate simple compositions MU09-GR.5-S.2-GLE.2 3. Theory of Music 1. Analyze and apply dynamics, tempo, meter, and articulation using appropriate music vocabulary MU09-GR.5-S.3-GLE.1 2.
    [Show full text]
  • Registers—The Snake Pit of Voice Pedagogy PART 1: PROPRIOCEPTION, PERCEPTION, and LARYNGEAL MECHANISMS
    Registers—The Snake Pit of Voice Pedagogy PART 1: PROPRIOCEPTION, PERCEPTION, AND LARYNGEAL MECHANISMS Christian T. Herbst [This article is a slightly revised English version of the manuscript series, “Register—die Schlangengrube der Gesangspädagogik,” published 2019–2020 in Vox Humana.] TERMINOLOGICAL CONFUSION ccording to Thurman et al., the first attempts to define vocal registers date back to the thirteenth century.1 Since then, a large variety of register definitions and categorizations have been Christian T. Herbst proposed (see, e.g., excellent historical overviews by Henrich, Stark).2 A limited selection of noteworthy register classifications is provided A3 in Table 1. A review by Mörner et al. found more than 100 different terms for registers used in scholarly writing.4 Some thirty years ago, Sundberg commented on this situation, stating that, “Unfortunately, there is no generally accepted clear definition of the term register.”5 While recent decades saw some excellent scientific contributions, some of which are mentioned in this article, there TABLE 1. Exemplary overview of proposed register classifications. Author Year Count Terms Zacconi 1596 2 voce di petto, voce di testa Garcia 1847 3 voix pointrine, registre de fausset, registre de téte Behnke 1886 5 lower thick, upper thick, upper thin, upper thin, small Van den Berg 1963 3 (+2) chest, head or mid, falsetto (main registers) Strohbass, whistle (further registers) Vennard 1967 3 chest, middle, head (females) Chest, head, falsetto (males) Hollien 1974 3 pulse, modal, loft Miller 2000 4 chest, middle, upper, flageolet (females) Chest, full head, falsetto (males) Roubeau 2009 4 M0 (fry), M1 (chest), M2 (falsetto), M3 Journal of Singing, November/December 2020 Volume 77, No.
    [Show full text]