Abstract

With the growth of the instrumental ensemble in the musical comedy genre, the female singer needed to discover a vocal technique whereby she could be heard, especially in her low and middle registers. This vocal style, used in musical theatre and popular music, was labeled, "the belt voice." Pedagogues have defined the belt voice as an extension of the modal voice or speaking voice mode into a higher frequency range or register. Edwin defines the belt voice as "a chest voice dominant vocal quality used in many styles of non-classical singing."¹

There is controversy in the vocal profession as to whether belting can be taught in a manner to promote healthy vocalization and vocal growth, especially in the developing singer, ages fourteen to twenty-two. In exploring both scientific and pedagogical writings, and based on the author's many years of experience teaching the adolescent and young college music theatre singer, she concludes that it is possible to teach a healthy belt style. An integrated technique must be applied, based on knowledge of physiology, acoustics (resonance balancing), breath pressure management, and current writing and practices in vocal pedagogy.

In Principles and Philosophy, recent scientific studies of the physiology of the belt voice are discussed, as well as the author's conclusions from an electromyographic (EMG) study she conducted in July 2000 of the extrinsic muscles of the larynx, comparing belt and head voice production. Studies of glottal configuration in the belt voice are compared with chest voice, calling into question some writers' assertions that belt is solely equated with chest registration and physiology. The acoustic properties of the belt voice (spectral analysis) are compared with the chest and head registers. Medical observations by prominent physicians as Wilbur Gould and Van Lawrence suggest ways to avoid vocal pathology, leading to nodules.

In the sections Pedagogical Writings and Empirical Observations, writings by prominent teachers as Doscher, Miller, and Edwin argue the pros and cons of teaching the belt voice. The writer's experiences with high school music theatre singers at Alma College Summer Institute and with college singers at The University of Wisconsin-Platteville, The University of Cincinnati, and Shenandoah Conservatory are discussed. Perceptual studies, conducted by Hollien et al, are included.

The section Methods and Techniques includes exercises for group or individual practice and warm-up. Vocalises are presented for resonance balancing and optimal projection. This document serves as a practical method, combining science, philosophy, and techniques, to aid the educator to prepare their singers for the diversified career that our new century demands.

Notes:

¹Robert Edwin, "Belting, 101," The Journal of Singing, 55, no. 1 (September/October 1998): 53