ABSTRACT
OBJECTIVES/HYPOTHESIS: The purpose of this research was to study the associations of postural activities and knowledge of the voice of opera singers, recognized in the literature for the specificity of their posture. Additionally, the link between vocal pathologies and body pains on one hand, and posture control on the other hand was investigated. METHODS: A questionnaire including 90 questions was distributed to singers in France and overseas during 6 months. Ninety-eight opera singers participated in the survey. Data were analyzed using Excel and Stata software. RESULTS: The results showed that the singers who paid more attention to posture, postural work while singing, had knowledge of anatomy and postural role in singing voice, healthy lifestyle, and good body habits, had less vocal discomfort and pathologies, a better vocal preservation, and used more costo-abdominal breathing. On the other hand, knowledge of postural role and postural work was linked with pain and vocal fatigue. Furthermore, a preventive need was revealed concerning the providing of knowledge and skills to singers, but also to singing teachers, speech therapists, and stage workers. CONCLUSION: Our study shows that benefits were found in the voice quality of opera singers with anatomical and postural knowledge and who work on posture as part of their vocal work compared to others. Postural work and knowledge increase attention to body pain and vocal fatigue. These results can inform health care providers, opera singers, and their teachers and performers of the benefits of posture on operatic voice quality. Accordingly, this study sparks new ideas for postural work and therapy in lyric voice.
ABSTRACT
BACKGROUND: Singers are unique musicians because they use their whole body as a musical instrument. Posture and proprioception are key components for a robust and healthy voice. OBJECTIVE: This study aimed to analyze the postural control of lyric singers in different sensorimotor conditions. METHODS: Seventeen lyric singers were compared to a control group of 12 participants in static postural control test in eyes open (C1) and eyes closed (C2) conditions. Postural control of singers was also assessed in four specific singing conditions: singing posture eyes open (C3) and eyes closed (C4), vocalization (C5) and free aria (C6), low values being representative of good postural control. Singers also completed the Singing Voice Handicap Index (SVHI) French version, low scores reflecting a good SVHI result. RESULTS: No significant difference was observed between the two groups in C1 and C2. Postural control of singers was more accurate in C3 than in C1. Increased values in all postural parameters were seen in the singing conditions. Scores obtained at the SVHI were correlated to the area covered by the center of foot pressure in C5, low scores at the SVHI being correlated with low area values in this postural condition. CONCLUSIONS: Singing is a multitask situation which involves several movements including breathing, and management of factors such as stress. This can affect balance and so rigorous work on posture and proprioception is required as soon as a singer begins to perform in order to take care of the voice.
