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• W238390473 abstract "AT RECENT CONFERENCE OF VOICE TEACHERS, I attended a discussion on differences between choral and solo singing techniques led by a panel of widely respected university choir directors and voice professors. The panelists discussed how singing in ensembles affects vocal technique, especially with regard to nonvibrato singing. With the audience, they shared the opinion that choral singing should be colorful and vibrant, and implied that singing without vibrato is harmful to the voice. None defended the idea that there may be value in different styles of voice production, or that voice teachers have a responsibility to equip their students to sing them. One of the panelists remarked that, as teachers, our primary motivation should be to give the students what is best for them, and it is at that point where I would like to begin this article. What are the most important underlying issues of this controversy, and how will our responses to them best serve our students? The first issue is that of aesthetic preference; the second is that of vocal health. In this discussion, the latter shall be addressed first, as we can appeal to voice science to answer the question, Does singing without vibrato ruin the voice? shares certain characteristics with art and the weather, about which there have been witty comments throughout history. We may not know all the facts of the matter, but we do know what we like. Meribeth Bunch notes that [c]onsiderable acoustic research has been directed toward vibrato, yet virtually nothing is known about the physiological mechanism that produces it.1 She and William Vennard adopt Seashore's 1938 definition of a good vibrato as a pulsation of pitch usually accompanied with synchronous pulsations of loudness and timbre [that] give a flexibility, tenderness and richness to the tone.2 Most voice scientists agree that from five to eight pulsations per second constitute what today is considered a pleasing vibrato; fewer than five are usually considered a wobble, whereas more than eight approach what we call a tremolo. Taste affects vibrato rates. Clifton Ware notes: Aesthetic tastes for vibrato patterns tend to vary ... from the minimal vibrato of early choral singers to the fast vibrato patterns prevalent among opera singers in the early twentieth century.3 The rate of singers' vibrato also varies depending on the type of music being sung and the dynamic level required. As Ware quotes Ingo Titze: Vibrato increases with vocal intensity, as when singing a crescendo ... frequency appears to increase slightly with rising pitch and a singer's level of excitement.4 Vennard notes: Opera singers have more rapid vibrati than concert singers, as a rule ... Usually the same singer's rate decreases in concert where he does not have to compete in volume with a sixty-piece orchestra.5 Cultural factors come into play. Barbara Doscher remarks: Children in some countries (Austria) sing with vibrato while those in other countries (England) do not.6 Nicholas Isherwood notes: Extensive travels by this author have confirmed that singers from virtually all cultures outside of Europe and North America sing with no vibrato, as do North American natives,7 and points the reader to recordings and spectral analyses for examples of such styles of singing.8 Although some voice pedagogues believe that nonvibrato singing is harmful, there doesn't seem to be much research to support their contention. Ware states: Excessive straight-tone singing can retard the vocal development of young singers,9 but does not offer any scientific corroboration. James McKinney cites one study by John Large and Shigenobu Iwata that suggests vibrato prevents laryngeal fatigue.10 Vennard does not care for straight-tone singing, but doesn't claim it is injurious to the voice, even admitting that it has its place. Discussing the historical arguments, he says, A cultivated singer [of the Renaissance era] could alternate straight tones and tones with vibrato at will-a useful skill today in fact. …" @default.
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• W238390473 date "2009-05-01" @default.
• W238390473 modified "2023-09-26" @default.
• W238390473 title "Vibrato or Nonvibrato in Solo and Choral Singing: Is There Room for Both?" @default.
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