Dr.
Barbara Burdick
The
University of Wisconsin-Platteville
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 Aima
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.
--
1Robert
Edwin, "Belting 101," The Journal of Singing, 55, no. 1 (September/October
1998): 53
--
Dr. Barbara Burdick
The University of
Wisconsin-Platteville
1 University Plaza
Platteville, WI 53818