Singing Voice Therapy Revisited / Revisión de la terapia de voz cantada

Introduction. Singing is a type of sportive activity and, like sports medicine, profes-sional voice medicine is interested in the habilitation and rehabilitation of the vocal performer. The vocal needs of the professional vocal performer may not be similar to other professional or non-professional voice users. Like a professional athlete, a vocal performer's ability to perform for many decades at a high level will be enhanced by basing artistic and lifestyle decisions on a scientifically sound foundation. Objective. The aim of this study is to present a multidimensional introduction to the methods of SVT, incorporating the principles of sport and exercise medicine, and physical therapy and rehabilitation.Reflection. Singing voice therapy needs to provide answers to "what", "why", "how", and "when" questions. SVT must first correctly identify the problem, leading to the "how to do" solutions for a wide variety of cases, followed by a schedule of prescribed activities including answers to the "why" question (which exercise relates to which muscle). The periodization and motor learning principles provide a temporal answer to the "when" question when developing habilitation and/or rehabilitative protocols.Conclusion. Singing is not only an artistic expression, but also a sportive performance. The clinical approach to professional voice is a multidimensional and multilayered team effort. All practices are structured by blending scientific and ped-agogical knowledge

Introducción. El canto es una forma de actividad deportiva y, al igual que la medicina deportiva, la medicina vocal profesional se interesa por la habilitación y rehabilitación del intérprete vocal. Las necesidades vocales del intérprete vocal profesional pueden no ser similares a las de otros usuarios de voz profesionales o no profesionales. Al igual que un atleta profesional, la capacidad de un intérprete vocal para desempeñarse durante muchas décadas a un alto nivel se mejorará al basar las decisiones artísticas y de estilo de vida en un fundamento científicamente sólido. Objetivo. El objetivo de este estudio es presentar una introducción multidimensional a los métodos de TSV, incorporando los principios de la medicina del deporte y el ejercicio, y la fisioterapia y rehabilitación. Reflexión. La terapia de la voz cantada debe proporcionar respuestas a preguntas de "qué", "por qué", "cómo" y "cuándo". SVT primero debe identificar correctamente el problema, lo que lleva a las soluciones de "cómo hacer" para una amplia variedad de casos, seguido de un programa de actividades prescritas que incluyen respuestas a la pregunta "por qué" (qué ejercicio se relaciona con qué músculo). Los principios de periodización y aprendizaje motor proporcionan una respuesta temporal a la pregunta de "cuándo", al desarrollar protocolos de habilitación y/o rehabilitación. Conclusión. Cantar no es solo una expresión artística, sino también una actuación deportiva. El enfoque clínico de la voz profesional es un esfuerzo de equipo multidimensional y de múltiples capas. Todas las prácticas están estructuradas, al combinar conocimientos científicos y pedagógicos.

Singing Style, Vocal Habits, and General Health of Professional Singers

Introduction: For the singer, the voice is a medium used to express feelings that capture the listener. Every singing style has specific demands, and a vocal alteration may prevent the singer from meeting them. Objective: To compare the singing style, the vocal habits, and the general health data of professional singers. Methods: Cross-sectional, quantitative and retrospective study of a survey database. Data on the singing style, the vocal habits, and the health conditions and history of 57 professional singers, 31 female singers and 26 male singers, aged from 19 to 57 years old (average of 32 years old), from a mid-sized town were analyzed. Results: There was a prevalence of female (54 ± 2%) popular singers (91 ± 2%), in the adult age (51 ± 2%), nonsmokers (89 ± 2%), nonusers of alcohol (77 ± 2%), with respiratory problems (53 ± 2%), mainly rhinitis (23 ± 2%), and without other health problems. There was a significant use of alcohol in males ( p = 0.010); among the alcohol users, there was a significant presence of respiratory problems ( p = 0.046), of pharyngitis/tonsillitis ( p = 0.003), and of gastroesophageal reflux (GER) ( p = 0.043); there was a significant presence of GER in subjects reporting endocrine problems ( p = 0.023), of gastritis ( p = 0.023), and of pharyngitis/tonsillitis ( p = 0.030). Conclusion: There was a predominance of adult professional popular female singers, with complaints of respiratory issues (with a higher prevalence of rhinitis), without other general health issues, of nonsmokers, and of nonusers of alcohol (AU)

Cantar "rasgando a voz" pode ser uma prática saudável? / Can singing with rasp be a healthy practice? / Cantar "rasgando la voz" puede ser una práctica sana?

Cantar com a voz distorcida ou rasgada como é mais conhecido popularmente é comum em diversas formas de canto e não apenas no rock. As chamadas distorções vocais intencionais estão presentes na música há muitos anos e nas mais diversas culturas humanas. Mesmo assim esses tipos de produção ainda esbarram em preconceitos no sentido de se considerar, sem comprovação científica, que são prejudiciais à saúde vocal. O objetivo desta comunicação foi refletir sobre as distorções vocais intencionais no canto em um diálogo entre a Música e os campos que estudam a voz cantada como a Fonoaudiologia e a Laringologia. Na perspectiva de expandir o conhecimento sobre essas formas de emissão e relacionar as pesquisas que investigaram o assunto.

Singing with a distorted or raspy voice as it is most popularly known is usual in many forms of singing besides rock. The so-called intentional voice distortions have been present in music for many years and in the most diverse human cultures. Even so, these types of production still run into prejudices in the sense of considering, without scientific evidence, that they are harmful to vocal health. The goal of this communication was to reflect on the intentional voice distortions in singing in a dialogue between Music and the fields that study the singing voice as Speech Language Pathology and Laryngology. In order to expand the knowledge on these types of vocalizations and to relate the researches that investigated the subject.

Cantar con la voz distorsionada o rasgada como es más conocido popularmente es común en diversas formas de canto y no sólo en el rock. Las llamadas distorsiones vocales intencionales están presentes en la música desde hace muchos años y en las más diversas culturas humanas. Sin embargo, estos tipos de producción todavía tropiezan en prejuicios en el sentido de considerar, sin comprobación científica, que son perjudiciales para la salud vocal. El objetivo de esta comunicación fue reflexionar sobre las distorsiones vocales intencionales en el canto en un diálogo entre la Música y los campos que estudian la voz cantada como la Fonoaudiología y la Laringología. En la perspectiva de expandir el conocimiento sobre esas formas de emisión y relacionar las investigaciones que investigaron el asunto.

Desvantagem vocal em cantores líricos / Voice handicap in lyric singers / Desventaja vocal en cantantes líricos

Introdução: O Índice de Desvantagem no Canto Clássico (IDCC) auxilia o cantor sobre a percepção da sua voz e o impacto da produção vocal em sua vida profissional.Objetivo: Comparar a autopercepção da desvantagem vocal em cantores líricos e as variáveis sociodemográficas, queixas vocais, uso da voz falada e período dos sinais e sintomas vocais. Métodos: Pesquisa transversal e analítica, com trinta cantores líricos de uma escola pública de canto. Utilizou-se um questionário com dados sociodemográficos, sobre a voz e o IDCC. As variáveis independentes foram dicotomizadas e comparadas com os domínios incapacidade, desvantagem e defeito do IDCC pelo teste Mann-Whitney adotando um nível de significância estatística de 5% (p≤0,05). Resultados: O hábito de pigarrear foi o sintoma mais frequente. Os escores do IDCC apontaram maiores médias no domínio Defeito. Houve diferença estatisticamente significativa em todas as subescalas e no total entre aqueles com e sem cansaço vocal (Incapacidade p=0,003, Desvantagem p=0,028, Defeito p= 0,013, Total p=0,007); bem como quanto ao período de sinais e sintomas vocais entre sem problema/problema agudo e problema crônico (Desvantagem p=0,011, Defeito p=0,008, Total p=0,012); e entre aqueles sem e com queixas vocais (Defeito p=0,022; sendo limítrofe no Total p=0,053). Conclusão: os cantores líricos apresentaram desvantagem vocal dentre os que referem cansaço ao falar e/ou cantar, com queixas vocais e estas em um período considerado crônico.

Introduction: The Classical Singing Handicap Index (CSHI) assists the singer in the perception of his voice and the impact of the vocal production in his professional life. Objective: To compare the self-perception of the vocal handicap in lyric singers and the sociodemographic variables, the vocal complaints, the use of spoken voice and the period of the vocal signals and symptoms. Methods: Crosssectional and analytical research, with thirty lyric singers from a public singing school. A questionnaire with sociodemographic data about the voice and the CSHI was used. The independent variables were dichotomized and compared to the domains: disability, handicap and defect of the CSHI through the Mann-Whitney test adopting a level of statistical significance of 5% (p≤0.05). Results: The habit of clearing the throat was the most frequent symptom. The CSHI scores indicated higher averages in the Defect domain. There was a statistically significant difference in all the subscales and in the total among those with and without vocal fatigue (Inability p = 0.003, Handicap p = 0.028, Defect p = 0.013, Total p = 0.007); as well as the period of the vocal signs and symptoms between no problem/acute problem and chronic problem (Handicap p = 0.011, Defect p = 0.008, Total p = 0.012); and among those with and without vocal complaints (P = 0.022, being adjacent in the Total p = 0.053). Conclusion: The lyric singers presented vocal handicap among those who reported fatigue when speaking and/or singing, with vocal complaints and these ones in a period considered chronic.

Introducción: El índice de desventaja en el canto clásico (IDCC) auxilia al cantante en la percepción de su voz y en el impacto de la producción vocal en su vida profesional. Objetivo: Comparar la autopercepción de las desventajas vocales en los cantantes líricos y las variables sociodemográficas; quejas vocales, uso de la voz hablada y período de los signos y síntomas vocales. Métodos: Investigación transversal y analítica, con treinta cantantes líricos de una escuela pública de canto. Se utilizó una encuesta con datos sociodemográficos, sobre la voz y el IDCC. Las variables independientes fueron divididas y comparadas con los dominios Incapacidad, Desventaja y Defecto del IDCC por el test Mann-Whitney adoptando un nivel de significado estadístico de 5% (p≤0,05). Resultados: El hábito de carraspear fue el síntoma más frecuente. Los escores del IDCC apuntaron mayores promedios en el dominio Defecto. Se observó una diferencia estadísticamente significativa en todas las subescalas y en el total entre aquellos con y sin cansancio vocal (Incapacidad p=0,003, Desventaja p=0,028, Defecto p=0,013, Total p=0,007); así como en cuanto al período de los signos y síntomas vocales entre sin problema / problema agudo y problema crónico (Desventaja p=0,011, Defecto p=0,008, Total p=0,012); y entre aquellos sin y con quejas vocales (Defecto p=0,022, siendo limítrofe en el Total p=0,053). Conclusión: los cantantes líricos presentaron desventaja vocal entre los que mencionan cansancio al hablar y / o cantar, con quejas vocales en un período considerado crónico.

Comparison of Vocal Cord Motion and Voice Characteristics of Applied Music Singing Students before and after Singing Voice Therapy

BACKGROUND AND OBJECTIVES: Many students major in applied music singing have various difficulties in phonation when they sing or perform. But the studies about this cause are lack. The purpose of this study is whether singing voice therapy based on vocal music is effective or not to applied music singing students that have difficulties in phonation. MATERIALS AND METHODS: Singing voice therapy program had been done to 8 students major in applied music singing during 7 weeks. We did laryngeal stroboscope, perceptual, acoustic and aerodynamic examination before and after singing voice therapy to this students. And we studied post examination results have differences or improvements compared to pre examination results. RESULTS: Four male students don't have effective improvement after singing voice therapy but they shows slight improvement in aerodynamic examination values compared to pre examination values. Four female students shows improvement in aerodynamic examination values and pitch range increasing. Above all, one student's vocal nodules disappeared after singing voice therapy. CONCLUSIONS: Singing voice therapy based on music singing is very effective to the students major in applied music singing. Above all, their curriculum in applied music singing should include phonation training based on music singing before training perform and technic practices.