Comparison of effects produced by physiological versus traditional vocal warm-up in contemporary commercial music singers
Author
dc.contributor.author
Portillo, María Priscilla
Author
dc.contributor.author
Rojas, Sandra
Author
dc.contributor.author
Guzmán, Marco
Author
dc.contributor.author
Quezada, Camilo
Admission date
dc.date.accessioned
2018-08-02T22:15:18Z
Available date
dc.date.available
2018-08-02T22:15:18Z
Publication date
dc.date.issued
2018
Cita de ítem
dc.identifier.citation
Journal of Voice, Vol. 32, No. 2, pp. 200–208
es_ES
Identifier
dc.identifier.other
10.1016/j.jvoice.2017.03.022
Identifier
dc.identifier.uri
https://repositorio.uchile.cl/handle/2250/150629
Abstract
dc.description.abstract
Purpose. The present study aimed to observe whether physiological warm-up and traditional singing warm-up differently affect aerodynamic, electroglottographic, acoustic, and self-perceived parameters of voice in Contemporary Commercial Music singers.
Methods. Thirty subjects were asked to perform a 15-minute session of vocal warm-up. They were randomly assigned to one of two types of vocal warm-up: physiological (based on semi-occluded exercises) or traditional (singing warm-up based on open vowel [a:]). Aerodynamic, electroglottographic, acoustic, and self-perceived voice quality assessments were carried out before (pre) and after (post) warm-up.
Results. No significant differences were found when comparing both types of vocal warm-up methods, either in subjective or in objective measures. Furthermore, the main positive effect observed in both groups when comparing pre and post conditions was a better self-reported quality of voice. Additionally, significant differences were observed for sound pressure level (decrease), glottal airflow (increase), and aerodynamic efficiency (decrease) in the traditional warm-up group.
Conclusion. Both traditional and physiological warm-ups produce favorable voice sensations. Moreover, there are no evident differences in aerodynamic and electroglottographic variables when comparing both types of vocal warm-ups. Some changes after traditional warm-up (decreased intensity, increased airflow, and decreased aerodynamic efficiency) could imply an early stage of vocal fatigue.