IMPORTANCE OF PROPER BREATHING IN SINGING

There is much truth in the statement that ‘breathing is singing’ proper breathing is essential for singing and learning of breath correctly is actually one of the most important aspect to improve the singing voice. Improving breathing technique allows a singer to have more control over their voice and enable them to explore a broader range of notes and to have greater capacity of air and it gives control to expel the breath in order to sustain on the notes for a longer period. The intensity of the voice depends upon the breath forces which regulate the amplitude of the vibrations of the vocal chords. If the foundation of breathing technique is not proper a singer will have poor results, and later will suffer. Good breath management skills are necessary if a singer hopes to be able to sing great wilt skill. So breathing exercise are critical for any aspiring vocalist to achieve singing success. This paper try to discuss on the Important of proper breathing in singing.

Pectus Excavatum

Pectus excavatum is a funnel-shaped congenital deformity of the chest. Although the deformity can appear minimal at birth, it may be progressive. There may be cardiac or pulmonary compromise in addition to subjective complaints of pain and shortness of breath. Management ranges from breathing exercises to surgical repair with mobilization of the sternum and ribs. This can be performed using an open or thoracoscopic technique. Complications of surgical repair include atelectasis and pneumothorax. Significant pain is associated with the surgical procedures and multimodal analgesic therapy, including thoracic epidural analgesia and intravenous narcotics, are typically used. This chapter discusses the etiology and management of pectus excavatum.

Contribution of Glottic Insufficiency to Perceived Breathiness in Classically Trained Singers

Breathiness in the singing voice is problematic for classical singers. Voice students and singing teachers typically attribute breathiness to breath management issues and breathing technique. The present study sought to determine whether glottic insufficiency may also contribute to breathiness in a singer’s voice. Studies have revealed a relationship between insufficient vocal fold closure and inefficiency in the speaking voice. However, the effect of insufficient vocal fold closure on vocal efficiency in singers has yet to be determined. Two groups of voice students identified with and without breathiness issues underwent aerodynamic and acoustic voice assessment as well as laryngeal stroboscopy of the vocal folds to quantify the prevalence of insufficient vocal fold closure, also known as glottic insufficiency. These assessments revealed four groups: 1) those with glottic insufficiency and no perceived voice breathiness; 2) those with glottic sufficiency and perceived voice breathiness; 3) those with glottic insufficiency and perceived breathiness; and 4) those with glottic sufficiency and no perceived breathiness. Results suggest that previously undiscovered glottal insufficiency is common in young singers, particularly women, though the correlation with identified breathiness was not statistically significant. Acoustic and aerodynamic measures including noise-to-harmonics ratio, maximum phonation time, airflow rate, subglottal pressure, and laryngeal airway resistance were most sensitive to glottic insufficiency.

The Integration of Voice and Dance Techniques in Musical Theatre: Anatomical Considerations

Musical theatre performers are required to be proficient in the three artistic disciplines of dancing, singing, and acting, although in today's modern productions, there is often a requirement to incorporate other skills such as acrobatics and the playing of an instrument. This article focuses on the issues faced by performers when dancing and voicing simultaneously, as it is between these two disciplines where we see the greatest pedagogical divide in terms of breath management and muscle recruitment patterns. The traditional teaching methods of dance and voice techniques are examined, areas of conflict highlighted, and solutions proposed through an exploration of the relevant anatomy.

The Effects of Breath Management Instruction on the Performance of Elementary Brass Players

The present study is an investigation of the effects of breath management instruction on the performance of elementary brass players. The experimental group ( N = 32) received instruction on the use of air during brass performance. The control group ( N = 29) continued with instruction from their method books. Three measures for breathing (thoracic displacement, abdominal displacement, and lung capacity) and for performance (range, duration, and tone quality) were the dependent variables. The data were analyzed using multivariate and univariate analyses of covariance. Independent variables included group (experimental and control), instrument (trumpet, horn, and trombone), and grade level (fourth, fifth, and sixth). Main effects for group showed that the experimental group had significantly higher scores on measures of abdominal displacement, range, and duration ( p < .05). There were no treatment-by-instrument or treatment-by-grade-level interactions. Breathing instruction in group lessons was effective in improving the breathing and performance of elementary brass players.