The vocal score profile/vocal range profile rate and APM in artistic voice evaluation: application...

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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 Paolillo ENT dep. Mandic Hospital - Milan Phonitatrician Teatro alla Scala of Milan Dr Franco Fussi Phoniatric Centre of Ravenna Phoniatrician Teatro Comunale of Bologna

Transcript of The vocal score profile/vocal range profile rate and APM in artistic voice evaluation: application...

Page 1: The vocal score profile/vocal range profile rate and APM in artistic voice evaluation: application tested on opera and musical singers An evaluation of.

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

Page 2: The vocal score profile/vocal range profile rate and APM in artistic voice evaluation: application tested on opera and musical singers An evaluation of.

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

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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

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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

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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

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VOCAL SCORE PROFILEHighlights the vocal role various musical features through

histogram graphics

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Passage

VOICE RANGE PROFILE (VRP)

VRP points out dynamic and frequency range of singers voice

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DYNAMIC AGILITY CURVEDynamic Agility is the value of differential between

forte and piano calculated for each tone.

Passage

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COMPARATIVE EVALUATION VOCAL SCORE PROFILE VS DYNAMIC AGILITY CURVE

(P/P rate Pariturogram/Phonetogram rate)

Passage

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Donna Anna 1st Act

Donna Anna 2nd Act

Passage

Passage

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Donna Elvira from “Don Giovanni” W.A. Mozart – Full Score

Passage

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• 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

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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

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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

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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

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Preliminary Evaluation • Anamnesis

• Tonal audiometry

• Videolaryngostroboscopy

• What singers feel about character features (fatiguing and resting moments)

Dr. Nico Paolo Paolillo – Dr. Franco Fussi

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“Aida” vs “I due Foscari” tenor roleat Teatro alla Scala in Milan

Dr. Nico Paolo Paolillo – Dr. Franco Fussi

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Radames – 1st Tenor – Complete Performance

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Aria “CELESTE AIDA” – 1st Act

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Break between 2nd and 3rd Act + non singing part during beginning of 3rd Act

Speech and soft fonation

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Jacopo Foscari – 2nd Tenor – Warm-up

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“Brezza del suol natio… Dal più remoto esilio”Aria + Cabaletta – 1st Act

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RADAMES

JACOPO FOSCARI

BEHAVIOURAL HABITS AND

RESOURCE MANAGEMENT

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RADAMES

JACOPO FOSCARI

SUCH AS A “REAL” VOCAL SCORE PROFILE

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Jacopo Foscari1st Act

Radames1st Act

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SUCH AS AN “ON STAGE” RELATIVE DINAMIC AGILITY

RADAMES

JACOPO FOSCARI

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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

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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

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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

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• 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

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Thank you for attention