ABSTRACT
BACKGROUND: Frequency range measures in singers reflect their physiological capacity, vocal flexibility, training effects, strengths, and limitations in singing. Since this information is vital for pedagogic and clinical purposes, this study aimed to measure the frequency range in Carnatic singers while singing different aspects of the vocal music. METHOD: Practice task (gliding from lowest to highest note) and performance task (singing a song with vocal ornaments) were recorded from 55 trained Carnatic singers (40 females and 15 males). The auditorily verified portions of various vocal ornaments in Carnatic singing (such as aalapanai, pallavi, anupallavi, charanam, and niraval) were coded as separate tokens. A total of 385 tokens were analyzed using PRAAT software for estimating frequency range in semitones during practice task (SFRprac) and performance task (SFRperf). Descriptive, ANOVA, Tukey HSD, independent t, and Mann-Whitney U were used for statistical analysis. RESULTS: SFRprac was higher than SFRperf in Carnatic singers. During practice, singers explored their physiological range to improve their vocal ability. However, during performance they tend to maintain a comfortable singing range to have a flawless rendition. Aalapanai (most creative portion) had the highest frequency range (females: 22.96 ST, males: 24.57 ST) than other types of vocal ornaments in performance signing. Practice frequency range (SFRprac) and performance frequency range (SFRperf) were not statistically different across male and female singers. CONCLUSION: This study described the frequency range measures in various aspects and nuances of Carnatic singing. Its clinical and pedagogic importance are discussed.
