2008:59 DOKTORSAVHANDLING Sång inom populärmusikgenrer Daniel Zangger Borch Sång inom populärmusikgenrer Daniel Zangger Borch Luleå tekniska universitet 2008:59 Musikhögskolan i Piteå Universitetstryckeriet, Luleå 2008:59|: 02-544|: - -- 08 ⁄59 -- Sång inom Populärmusikgenrer Konstnärliga, fysiologiska och pedagogiska aspekter Daniel Zangger Borch Distribution Institutionen för musik och medier/Luleå tekniska universitet Box 744 941 28 Piteå Telefon: 0911-72600 Fax: 0911-72610 Publicerad elektroniskt på http://epubl.ltu.se ISSN: 1402-1544 ISRN: LTU-DT – 08/59 – SE © Daniel Zangger Borch 2008 Abstract This dissertation consists of five parts dealing with three areas: voice science, voice pedagogics and musical expression. The overall aim was to contribute to a scientific basis for improved singing technique within genres of popular music. Scientific analyses of vocal expression are used as a complement to a vocal teaching method that is suitable for the vocal ideals used in the popular music genres, considering also current scientific knowledge in the areas of physiology, acoustics and rehabilitation. Part I analyzes a classically trained singer’s voice and some frequently used types of accompaniments as well as the voices of five popular music singers. The results suggested that boosting the frequency range 3500 Hz in the popular music singer’s monitor system could be beneficial. Part II analyzed how the vocal “dist” ornament, commonly used by rock singers, is generated in my rock singer’s voice. A high-speed video recording combined with simultaneous voice source analysis revealed that this ornament was produced by adducting the supraglottal structures such that they were brought to vibration by the airstream. Part III analyzed the voice source and resonance characteristics of my singing in the styles of rock, pop, soul and dance band, respectively. The results showed that the rock and dance band styles were opposite extremes, the rock style being closest to pressed phonation. Part IV is a pedagogical handbook for singers and singing teachers working within or interested in the popular music genres. The content covers a wide range of aspects, from vocal warm up and voice massage to electronic equipment typically used by such singers. Part V is a CD meant to reflect my musical expression. The songs also exemplify some of the vocal styles and ornaments which I use in different popular music genres. Key words: popular music genres, singing styles, frequency range, subglottal pressure, voice source, dist ornament, supraglottal structures, musical expression. Innehållsförteckning Summary vii Termer och förkortningar xi Genrebenämningen xiii Röstfysiologi xv Andningsapparaten xv Struphuvudet xvi Ansatsröret xviii Delarbeten xx Inledning 1 Min konstnärliga och sångpedagogiska bakgrund 2 Populärmusiksångares musikaliska bakgrund 3 Forskningsläget 4 Sångundervisningens nuläge 6 Syfte och innehåll 9 Övergripande syfte 9 Avhandlingens framväxt 10 Min roll i delstudierna 13 Samband mellan delarbetena 15 Sammanfattningar av delarbeten 17 Allmän diskussion 27 Konstnärliga kommentarer 30 Pedagogiska reflektioner 31 Frågor för framtida forskning och utvecklingsarbete 32 Tack 35 Referenser 37 Fonogram 41 Appendix 43 Arbete I Spectral distribution of solo voice and accompaniment Arbete II Vocal fold vibration and voice source aperiodicity in “dist” tones: a study of a timbral ornament in rock singing Arbete III Phonatory and resonatory characteristics of popular-music singing styles Arbete IV Stora Sångguiden Arbete V The One (musik-cd) Summary This dissertation consists of five parts dealing with three areas: voice science, voice pedagogic and musical expression. The research is concerned with musical genres typically referred to as ”western non-classical music styles” in the voice research community. However, in this dissertation work there was a need for a more limited definition. I have therefore chosen to use the term “popular music” to refer to rock, pop- and soul music. Consequently, the expression “popular music singing” refers exclusively to the singing styles associated with these three genres. The overall aim of the dissertation is to contribute to a scientific basis for an improved singing technique within genres of popular music. Scientific analyses of vocal expression are used as a complement to a vocal teaching method that is suitable for the vocal ideals used in the popular music genres, considering also current scientific knowledge in the fields of physiology, voice acoustics and voice rehabilitation. Part I analyzes a classically trained singer’s voice and the typically associated accompaniment as well as the voices of five popular music singers and a variety of accompaniments typically used in their genres. The goal was to clarify whether popular music singers would benefit from singing with a singer’s formant cluster, a strategy typically used by classically trained singers. This strategy decreases the need for constantly loud singing, which often leads to voice disorders. The study investigates male voices only and the subject group consisted of five popular music singers. Examples from a variety of typical popular music accompaniments (rock, pop, soul, ballad, fusion and funk) were recorded during a concert and compared with commercial recordings of classical symphonic orchestras. The voices as well as the different accompaniment types were analysed by means of long-term-average spectra (LTAS). The results showed that in popular music, particularly rock music, the accompaniment was too loud in the high frequency range for this strategy to be appropriate. On the other hand, a boost of the 3500 Hz frequency range in the vii singer’s monitor system could be beneficial, since a small peak was found in that range in the popular music singers’ LTAS. Part II analyzed how I produce the vocal “dist” ornament, which is commonly used by rock singers, particularly in the upper parts of a singer’s individual vocal range. “Dist” is mainly used as a vocal effect, although some singers use it as their vocal base line. The background to this study is the fact that many popular music singers try to adapt the dist ornament but many of them find that their voices cannot handle the strain. A high-speed video recording, obtained by means of a fibre laryngoscope, combined with simultaneous voice source analysis, revealed that this ornament was produced by adduction of supraglottal structures which the air stream brought to an aperiodic vibration. These structures partially obstructed the air pulses produced by the vocal folds, thereby creating a random variation of the pulse amplitudes. The individual ability to adduct the supraglottal structures without excessive adduction of the vocal folds may vary. Part III analyzed the voice source and resonance characteristics of my singing in the styles of rock, pop, soul and dance band, respectively. Triads sung in neutral and pressed phonation at different degrees of vocal loudness, as well as excerpts from songs in these four styles of singing, were recorded and analyzed with regard to the relationships between Psub, and F0, between NAQ and F0, and between F2 and F1. The results showed that the rock and dance band styles were opposite extremes, the rock style being closest to pressed phonation. I experienced a difficulty in the selection of the examples of the different singing styles. There are natural variations within a genre and the singing style that represents it, so you could, in theory, choose a more or less typical version of a specific genre’s singing style. For example, if you choose a ballad from the rock singing style and compare it with the singing style of a pop ballad, they would not differ very much; on the other hand, they would not be genre typical either. Therefore I chose examples that would show typical genre characteristics, such as tempo, key and intensity. Part IV, a pedagogical book, is a handbook for singers and singing teachers working within or interested in the popular music genres. The three scientific studies viii (Parts I, II and III) were initiated before, during and after the writing of Part IV, so the pedagogical application of the scientific results has been a non-linear process. The main purpose of Part IV was to demonstrate methods of singing in the popular music genres that are vocally healthy while also remaining true to the specific sound ideals of these genres. The technique applies findings and practices from voice research, physiology, voice acoustics, general medicine (particularly phoniatrics and voice therapy) and classical singing. Other areas of relevance are e.g. voice massage, where tension in external larynx muscles is released, and traditional massage, which has been proven to have a positive effect on voice (Ternström et al, 2000). The content covers a wide range of aspects, from vocal warm up and voice massage to electronic equipment typically used by popular music singers. Further, vocal anatomy is described and practical tips are given regarding vocal interpretation and performance. The exercises were created with these factors in mind. I they should be tailored for the genre’s needs II they should be melodically and rhythmically song-like III they should contain a musical challenge Particular attention was paid to the fact that, in these genres, music is mostly learned by ear. This was the reason for complementing the book with an accompanying CD. Part V is a CD meant to reflect my musical expression both vocally and musically. Apart from one cover it consists of nine songs, all written and arranged by myself. The songs exemplify some of the vocal styles and ornaments that I use in different popular music genres and that were scientifically analyzed in Parts I, II and III. An extra challenge, in addition to that of taking all the artistic decisions myself, was the practical-technical difficulty when recording myself. Due to lack of assistance I often had to push the “Record” button – run into the singing booth – sing, hoping that the take would be good enough so that I would not have to repeat it too many times.