the vocal score profile/vocal range profile rate and apm in artistic voice evaluation: application...
TRANSCRIPT
The vocal score profile/vocal range profile rate and APM in artistic voice evaluation: application tested
on opera and musical singers
An evaluation of voice suitability and vocal fatigue
Dr. Nico Paolo PaolilloENT dep. Mandic Hospital - Milan
Phonitatrician Teatro alla Scala of Milan
Dr Franco FussiPhoniatric Centre of Ravenna
Phoniatrician Teatro Comunale of Bologna
Vocal fatigue and glottal damage risks
• Wrong repertoire
• Inadequate technical qualities
• Inadequate work planning
• Phonatory behaviour (total phonation time during rehearsals, performances, break-times, teaching, private life etc.)
• Lifestyle
• Working environment
• It’s necessary to calculate the right vocal cost
Dr. Nico Paolo Paolillo – Dr. Franco Fussi
WATH THE SINGERS FEEL ABOUT CHARACTER FEATURES
• Interview before analysis Assessing accordance between subjective feeling and objective analysis
• Interview after analysis Assessing the reliability of a predictive evaluation
• Relationship between the patient's medical history (any vocal desease or phonosurgery) and results of the analysis
Dr. Nico Paolo Paolillo – Dr. Franco Fussi
Donna Anna
Donna Elvira
A# 24 11
A 76 24
G# 39 40
G 296 185
F# 148 99
F 379 187
E 337 210
D# 208 263
D 492 416
C# 120 177
C4 377 362
B 135 208
A# 196 294
A 194 202
G# 31 80
G 76 172
F# 39 45
F 29 129
E 9 27
D# 10 15
D 4 15
C# 2
C3 3
B2 2
TOTAL 3219 3144
High Notes
Passage Notes
Middle Notes
Low Notes
VOCAL SCORE PROFILE
COUNT OF NOTES FOR EACH SEMITONE
statistic method for vocal score (partitura) semeiotic
0
20
40
60
80
100
Donna Anna
DonnaElvira
High
Middle
Low
Passage
ComfortableRange
Prevalent Octave
Comparison regarding ranges percentage
Through this kind of analysis different parameters can be detected
VOCAL SCORE PROFILEHighlights the vocal role various musical features through
histogram graphics
Passage
VOICE RANGE PROFILE (VRP)
VRP points out dynamic and frequency range of singers voice
DYNAMIC AGILITY CURVEDynamic Agility is the value of differential between
forte and piano calculated for each tone.
Passage
COMPARATIVE EVALUATION VOCAL SCORE PROFILE VS DYNAMIC AGILITY CURVE
(P/P rate Pariturogram/Phonetogram rate)
Passage
Donna Anna 1st Act
Donna Anna 2nd Act
Passage
Passage
Donna Elvira from “Don Giovanni” W.A. Mozart – Full Score
Passage
• P/P Rate is a reliable method to identify a right repertoire and to predict performance risks for vocal effort or glottal damage
• In low and high ranges a gradual dynamic agility reduction is acceptable (not for coloraturas restricted range of dynamic all range long)
• In low female voices it’s necessary always to evaluate both vocal registers passages.
• Accordance between subjective singers’ feeling and objective analysis
• Possibility and reliability of a predictive evaluation
• Relationship between the patient's medical history, like any vocal desease (even if unknown) or phonosurgery, and analysis results.
Dr. Nico Paolo Paolillo – Dr. Franco Fussi
Singer with unsuited dynamic agility to a specific role
Can all the same excel in performing it
HIGHER VOCAL COST
Dr. Nico Paolo Paolillo – Dr. Franco Fussi
Vocal Dosimetry in Teatro alla Scala in Opera soloist singers and in
Musical soloist singers
Dr. Nico Paolo Paolillo – Teatro alla Scala in MilanDr. Franco Fussi – teatro Comunale in Bologna
APM during live performances on stage (Model 3200 APM)
• Phonatory behaviours before, during and after performances
• Absolute index for vocal fatigue or vocal recovery???
• Possible fatigue threshold vs recovery threshold???
Dr. Nico Paolo Paolillo – Dr. Franco Fussi
Preliminary Evaluation • Anamnesis
• Tonal audiometry
• Videolaryngostroboscopy
• What singers feel about character features (fatiguing and resting moments)
Dr. Nico Paolo Paolillo – Dr. Franco Fussi
“Aida” vs “I due Foscari” tenor roleat Teatro alla Scala in Milan
Dr. Nico Paolo Paolillo – Dr. Franco Fussi
Radames – 1st Tenor – Complete Performance
Aria “CELESTE AIDA” – 1st Act
Break between 2nd and 3rd Act + non singing part during beginning of 3rd Act
Speech and soft fonation
Jacopo Foscari – 2nd Tenor – Warm-up
“Brezza del suol natio… Dal più remoto esilio”Aria + Cabaletta – 1st Act
RADAMES
JACOPO FOSCARI
BEHAVIOURAL HABITS AND
RESOURCE MANAGEMENT
RADAMES
JACOPO FOSCARI
SUCH AS A “REAL” VOCAL SCORE PROFILE
Jacopo Foscari1st Act
Radames1st Act
SUCH AS AN “ON STAGE” RELATIVE DINAMIC AGILITY
RADAMES
JACOPO FOSCARI
VOCAL, TECHNICAL AND BEHAVIOURAL
FEATURESSpeech and soft fonation
Speech and soft fonation
1st tenor - RADAMES
2nd tenor - JACOPO FOSCARI
T. Carroll, M. Abaza et al. – 2006
Difficulties
• APM size VS acting, dancing and costumes
• Singers’ helpfulness
• Calibration in singers who use both classical and modern technique
• Not much literature on APM in singers
Dr. Nico Paolo Paolillo – Dr. Franco Fussi
Total Phonation Time a Week
• Liric soloist singer
Greater likelihood of damage from acute fatigue
• Musical soloist singers
Greater likelihood of damage from chronic fatigue
• 2-3 performances a week + rehearsals (total sung phonation time less than 5 hours a week)
• 8-9 performances a week + rehearsals + often hard bodily fatigue in dancers (total sung phonation time more than 10 hours a week)
Dr. Nico Paolo Paolillo – Dr. Franco Fussi
• Hard Wearability• Discomfort• Higher availability of numeric data from APM• Possibility to “reshape” recorded data
(cut, paste, copy etc.)
• Technical and behavioural measures• Fatigue and damage risk reduction • Do technique and voice features influence dose
parameters??? the same role from different singers
• More studies to establish standard fatigue and recovery thresholds and ranges (differences between males and females and between different vocal classes???) Recovery index???
Future APM improvement
Thank you for attention