MUSIC IN EPIC THEATRE

Physiological and acoustic characteristics of the male music theatre voice.

Six male music theatre singers were recorded in three different voice qualities: legit and two types of belt ("chesty" and "twangy"), on two vowels ([e] and [ɔ]), at four increasing pitches in the upper limit of each singer's belt range (∼250-440 Hz). The audio signal, the electroglottographic (EGG) signal, and the vocal tract impedance were all measured simultaneously. Voice samples were analy...

Transforming identity through participation in music and theatre: exploring narratives of people with mental health problems

BACKGROUND There is a growing understanding that mental health problems and prolonged contact with mental healthcare systems can affect people's identities. Working with identity is an important element in mental health recovery. PURPOSE In this article, we explore the significance of participation in a music and theatre workshop in terms of people`s experiences of identity. DESIGN AND METH...

'One for all and all for one': voicing in Stravinsky's music theatre

'One for all and all for one': voicing in Stravinsky's music theatre

Physiological and Acoustic Characteristics of the Female Music Theatre Voice in ‘belt’ and ‘legit’ qualities

A study was conducted on six female Music Theatre singers. Audio and Electroglottographic (EGG) signals were recorded simultaneously with the vocal tract impedance while the singers produced sustained pitches on two different qualities (‘chesty belt’, ‘legit’). For each quality, two vowels (/!/, /o/) were investigated, at four increasing pitches over the F#4-D5 range (~370-600 Hz). Measured val...