Masters Thesis Excerpt

2008 Masters Thesis in Voice Pedagogy

The Marching Band Hypothesis: The Effect of Rhythm on Vocal Technique

Rhythm is something you either have or don’t have,

but when you have it, you have it all over.

-Elvis Presley

Abstract:

Rhythm, motion and the body have long been topics of discussion among music educators; yet, little scientific scholarship specifically addresses the correlation between rhythm and solo vocal technique. Using three groups of participants— non-singers, young singers and experienced singers—this project investigates how particular rhythmic stimuli affect vibrato, energy contour and formant activity. The participants performed a song of their choice while creating or listening to a rhythmic pulse. Each activity (clapping a steady beat, walking to steady beat, and hearing a subdivided pulse) was analyzed against a control sample of the same song without rhythmic stimulus. Although the final results did not indicate obvious patterns correlating a specific activity with enhanced vocal technique, several singers benefited on an individual basis, suggesting that subdivision in particular might encourage a more energized sound.  A subjective analysis revealed that upon hearing the data in order of performance—control, clapping, walking, subdivision—an overall increase in pitch accuracy, vibrato consistency and legato line was readily perceived. 

 

Conclusions:

The effects of rhythm on vocal technique seem to be extremely personal. A particular exercise did not seem to dominate the research as being the most effective for vocal technique; however, subdivision did have a positive effect on many participants’ vocal energy. Although the statistical results did not indicate recurrent patterns with regard to vibrato control/evenness and pitch accuracy, subjective analysis indicates that both vibrato and pitch were often more even and accurate, respectively, with the addition of some rhythmic stimulus. Although the participant’s energy levels were often increased from the control sample to the subdivision sample, these results were also varied, and did not seem to correlate with an over-all increase in formant activity. 

These results, although not consistent with my initial hypothesis, reflect reality. Everyone perceives music, rhythm, song, and movement differently. Though our bodies are anatomically similar, our personalities, skills and natural proclivities cause us to react differently to given stimuli. Although we all contain many biological time keepers, such as the heartbeat, we are not instinctively wired to produce analogous responses to rhythmic impetus. This does not discount rhythm altogether, however. As teachers, we must approach rhythm like any other pedagogical method, relying on the student’s needs, abilities and goals. Most of the students in this study responded favorably (and some significantly) to at least one rhythmic activity.  Not only were the hypothesized goals of vibrato consistency, formant activity and energy increase constructively reached in some capacity, some singers even established improved passagi negotiation with added rhythmic stimulus.

In the future, I would like to more closely investigate the relationship among rhythm, pitch accuracy and perhaps the passagio. In addition, it would be advantageous to study the work of both Dalcroze and Ciavatta and assimilate their techniques into the voice studio. A similar study might record any changes in vocal technique after students participate in either eurhythmics or O Passo for a lengthy period. Because of its diverse effect on the vocal mechanism, many rhythmic techniques and philosophies should be assessed to account for students’ varied learning styles.