Journal articles: 'Female singers'

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Bandhopadhyay, Ankur, Indranil Chaterjee, and Sanghamitra Dey. "A comparative study of phonetogram parameters among female trained Hindustani classical singers, untrained singers and non-singers." International Journal of Otorhinolaryngology and Head and Neck Surgery 5, no. 6 (October 23, 2019): 1527. http://dx.doi.org/10.18203/issn.2454-5929.ijohns20194922.

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Background: Vocal sound is based on the complex yet co-ordinated interaction of phonatory system, resonatory system and respiratory system. Phonetography is a practicable and readily accessible method to investigate and map the quantitative potentialities of vocal output. The objectives of the present study were to determine the phonetogram of trained (Hindustani classical) singers, untrained singer sand non-singers elicited from singing as well as speech task to see if statistically significant differences were present which may indicate an effect of training.Methods: 90 female subjects between the ages 20-45 (mean age 34.2 years for trained subjects, 26.3 years for untrained subjects and 25.8 years for non-singers) divided into three groups each group consisting of 30 subjects. For the singing task, the individuals had to phonate |a| at habitual level by traversing through eight musical scales. In the speech task, the subjects were asked to count from one to twenty in Bengali at habitat level and at Sustainable cohorts of intensity. This was recorded using phonetogram software Dr. Speech (version 4). The parameters considered were fundamental frequency, intensity, semitones and area. Results: The study revealed that in both tasks singing and non-singing task for all three groups in all the four parameters of phonetogram significant differences were seen (p=0.000) at 95% level of confidence.Conclusions: The present study depicted the phonetographic profile of a genre of trained singers and tracked out the parameters on which differences are pronounced between a trained and untrained singer and non-singer.

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Santos, Sabrina Silva, Thaynara Montagner, Gabriele Rodrigues Bastilha, Letícia Fernandez Frigo, and Carla Aparecida Cielo. "Singing Style, Vocal Habits, and General Health of Professional Singers." International Archives of Otorhinolaryngology 23, no. 04 (October 2019): e445-e450. http://dx.doi.org/10.1055/s-0039-1693140.

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Introduction For the singer, the voice is a medium used to express feelings that capture the listener. Every singing style has specific demands, and a vocal alteration may prevent the singer from meeting them. Objective To compare the singing style, the vocal habits, and the general health data of professional singers. Methods Cross-sectional, quantitative and retrospective study of a survey database. Data on the singing style, the vocal habits, and the health conditions and history of 57 professional singers, 31 female singers and 26 male singers, aged from 19 to 57 years old (average of 32 years old), from a mid-sized town were analyzed Results There was a prevalence of female (54 ± 2%) popular singers (91 ± 2%), in the adult age (51 ± 2%), nonsmokers (89 ± 2%), nonusers of alcohol (77 ± 2%), with respiratory problems (53 ± 2%), mainly rhinitis (23 ± 2%), and without other health problems. There was a significant use of alcohol in males (p = 0.010); among the alcohol users, there was a significant presence of respiratory problems (p = 0.046), of pharyngitis/tonsillitis (p = 0.003), and of gastroesophageal reflux (GER) (p = 0.043); there was a significant presence of GER in subjects reporting endocrine problems (p = 0.023), of gastritis (p = 0.023), and of pharyngitis/tonsillitis (p = 0.030). Conclusion There was a predominance of adult professional popular female singers, with complaints of respiratory issues (with a higher prevalence of rhinitis), without other general health issues, of nonsmokers, and of nonusers of alcohol.

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Sobolewska, Aleksandra, Pedro Claros, Carmen Pujol, Astrid Claros-Pujol, and Andres Claros. "Ageing of professional opera singer’s voice- preliminary findings." Otolaryngologia Polska 73, no. 2 (March 20, 2019): 1–5. http://dx.doi.org/10.5604/01.3001.0013.1002.

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Objectives. The main goals of this study were to assess the most significant morphological changes and acoustic measures for the ageing process of a professional opera singer’s voice. Design. This investigation included 58 healthy professional opera singers, who were compared with 42 young opera singers from a control group. Methods. All participants underwent a voice assessment protocol: an ENT specialist examination and a speech therapist evaluation. Acoustic parameters and subjective observations were obtained, and then analysed. Results. The fundamental frequency (F0) level was distinctly decreased in the case of older female singers, but F0 in older male singers had stable levels in comparison to that in younger singers. Older singers were found not to have substantially different values of jitter than younger ones. Maximal phonation time (MPT) was longer in the older women group when compared to younger singers, but not relatively different in the men group. Shimmer value presented no age related change. Morphological changes seem to correlate with the age of subjects. Conclusions. The main characteristic of voice change over age was a decreased F0 level among older female professional singers and rather stable F0 levels in male singers. This study gives preliminary results on ageing voice in the population of professional opera singers.

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Lã, Filipa, Jane W. Davidson, William Ledger, David Howard, and Georgina Jones. "A Case-Study on the Effects of the Menstrual Cycle and the Use of a Combined Oral Contraceptive Pill on the Performance of a Western Classical Singer: An Objective and Subjective Overview." Musicae Scientiae 11, no. 2_suppl (July 2007): 85–107. http://dx.doi.org/10.1177/10298649070110s205.

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This case study explores the objective and psychologically perceived effects of the menstrual cycle and the use of a combined oral contraceptive pill on the singing performance of a western classical female singer. Objective measures of vocal parameters and hormonal concentrations were assessed during her natural menstrual cycle and during the use of an oral contraceptive pill. A diary was kept throughout the six months duration of the study and one lengthy semi-structured interview was also carried out with the singer, focussing on perceptions of her singing quality over the entire study. Aural analyses of the singing recordings were also undertaken by two independently qualified judges to see whether or not vocal changes were perceptible to listeners. The results suggest that: (i) hormonal variations during the natural menstrual cycle affected physiological and psychological aspects of the singer's performance; (ii) the pattern of vibration of the vocal folds seems to be more regular, and vocal control seems to be improved during oral contraceptive pill use; (iii) the singer reported better voice control during oral contraceptive pill use; (iv) listeners perceive intonation problems and wider vibrato during the natural menstrual cycle. This study suggests that further research on the effects of female sexual hormones on the singer's voice is necessary, and that female singers should be educated regarding these matters, in order to protect their voices and careers.

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Ouyoung, Laishyang (Melody), Brenda Capobres Villegas, Changxing Liu, Guy Talmor, and Uttam K. Sinha. "Effects of Resonance Voice Therapy on Hormone-Related Vocal Disorders in Professional Singers: A Pilot Study." Clinical Medicine Insights: Ear, Nose and Throat 11 (January 2018): 117955061878693. http://dx.doi.org/10.1177/1179550618786934.

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Background: Menstruation-related hormonal alteration can be detrimental to the professional singing voice of women. Resonance Voice Therapy (RVT) has been proven to improve vocal production. However, no research to date has been conducted examining the subjective, acoustic, and stroboscopic effects of RVT on professional female singers having premenstrual or postmenopausal voice disorders. Aim: The aim of this study is to compare the vocal effects of RVT with a control cervical-thoracic intervention in healthy female singers during the premenstrual phase as well as in postmenopausal singers and to evaluate which intervention will allow singers to improve vocal performance regardless of changes in hormonal status. Design: A randomized study was designed for this research. The research subjects were 20 professional female singers from the Southern California area, USA, with 10 premenstrual subjects in one group and 10 postmenopausal subjects in the other group. Among each group, 5 subjects were randomly selected to receive RVT and the remaining subjects received cervical-thoracic–focused exercises. The therapies consisted of 1 month of daily 15-minute sessions. For premenstrual subjects, voice data were collected at days 25 to 27 of the premenstrual phase during a scheduled initial voice evaluation. Follow-up data were collected during the same phase of the menstrual cycle (days 25-27) after 1 month of exercises. For postmenopausal subjects, voice data were collected at an initial voice evaluation with follow-up after 1 month of the assigned voice treatment. Outcomes were assessed with the singer’s voice handicap index (VHI), laryngeal videostroboscopic examination, maximum phonation time (MPT), relative average perturbation (RAP), and pitch range before and following completion of therapies. Alleviation or deterioration percentages were used for statistical analysis. Student t test was used for statistical comparison between therapies. Results: The RVT decreased singer’s VHI for both premenstrual and postmenopausal subjects by an average of 67%, compared with 7.8% for the cervical-thoracic therapy. The RVT also effectively decreased RAP by an average of 57% when combining the premenstrual and postmenopausal groups. The RVT increased MPT and pitch range among both premenstrual and postmenopausal subjects. The stroboscopic examination did not detect any significant differences between the 2 interventions. Conclusions: The RVT is effective for professional female singers with hormone-related premenstrual and postmenopausal vocal changes. The RVT is suggested as one of the therapeutic approaches for vocal abnormalities in such a population. A larger cohort may be needed for future research. Level of Evidence: 1b

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Kosek, Jakub. "Transfigurations of the Emploi and Artistic Manifestations of Female (Heavy) Metal Singers." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 13, no. 2 (June 30, 2021): 35–46. http://dx.doi.org/10.24917/20837275.13.2.3.

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The studies of (heavy) metal culture, the oeuvre of female artists, singers, lyricists, etc., still await in-depth interdisciplinary research endeavours. This article devoted special attention to female artists whose artistic, stage and image activities largely employ strategies of provocation, scandalisation, “ceremonial profanation.” When it comes to image (self)creation, an interesting category is the process of variability and fluidity of the emploi, especially in relation to subversive and transgressional activities. Wendy Orlean Williams, Heidi Shepherd and Carla Harvey from Butcher Babies discussed here have aroused frequent controversies in their activity in the patriarchal system of popular culture. The subversive artistic and image strategies used by the singers are nevertheless a part of the over fifty-years-long history and aesthetics of metal culture. The oeuvre of the Californian band forms an evident dialogue with the provocative art of the eccentric singer Williams. The colourful artistic emploi of those female artists attests to the diversity and complexity of metal culture.

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Toles, Laura E., Nelson Roy, Stephanie Sogg, Katherine L. Marks, Andrew J. Ortiz, Annie B. Fox, Daryush D. Mehta, and Robert E. Hillman. "Relationships Among Personality, Daily Speaking Voice Use, and Phonotrauma in Adult Female Singers." Journal of Speech, Language, and Hearing Research 64, no. 12 (December 13, 2021): 4580–98. http://dx.doi.org/10.1044/2021_jslhr-21-00274.

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Purpose: This study sought to determine whether personality traits related to extraversion and impulsivity are more strongly associated with singers with nodules compared to vocally healthy singers and to understand the relationship between personality and the types of daily speaking voice use. Method: Weeklong ambulatory voice recordings and personality inventories were obtained for 47 female singers with nodules and 47 vocally healthy female singers. Paired t tests investigated trait differences between groups. Relationships between traits and weeklong speaking voice measures (vocal dose, sound pressure level [SPL], neck surface acceleration magnitude [NSAM], fundamental frequency, cepstral peak prominence [CPP], and the ratio of the first two harmonic magnitudes [ H 1 –H 2 ]) were examined using pairwise Pearson r coefficients. Multiple regressions were performed to estimate voice parameters that correlated with two or more traits. Results: Singers with nodules scored higher on the Social Potency scale (reflecting a tendency toward social dominance) and lower on the Control scale (reflecting impulsivity) compared to the vocally healthy singers. In vocally healthy singers, vocal dose measures were positively correlated with a combination of Wellbeing (i.e., happiness) and Social Potency, mean SPL was positively correlated with Wellbeing, SPL variability was positively correlated with Social Potency and negatively with Harm Avoidance, and CPP mean was positively correlated with Wellbeing. Singers with nodules had a negative correlation between NSAM skewness and Social Potency. Both groups had negative correlations between H 1 –H 2 mean and Social Potency and Social Closeness. Conclusions: Singers with nodules are more socially dominant and impulsive than vocally healthy singers. Personality traits are related to daily speaking voice use, particularly in vocally healthy singers. Individuals with higher levels of traits related to happiness and social dominance and lower Harm Avoidance tended to speak more, with higher laryngeal forces, with more SPL variability, and with more pressed glottal closure, which could increase risk of phonotrauma.

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Watson, Peter J., Thomas J. Hixon, Elaine T. Stathopoulos, and Daniel R. Sullivan. "Respiratory kinematics in female classical singers." Journal of Voice 4, no. 2 (January 1990): 120–28. http://dx.doi.org/10.1016/s0892-1997(05)80136-5.

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McCrea, Christopher R., and Christopher Watts. "Relations of Singing Talent with Voice Onset Time of Trained and Untrained Female Singers." Perceptual and Motor Skills 105, no. 1 (August 2007): 133–42. http://dx.doi.org/10.2466/pms.105.1.133-142.

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This study examined phonatory-articulatory timing during sung productions by trained and untrained female singers with and without singing talent. 31 untrained female singers were divided into two groups (talented or untalented) based on the perceptual judgments of singing talent by two experienced vocal instructors. In addition to the untrained singers, 24 trained female singers were recorded singing America the Beautiful, and voice onset time was measured for selected words containing /p, b, g, k/. Univariate analyses of variance indicated that phonatory-articulatory timing, as measured with voice onset time, was different among the three groups for /g/, with the untrained-untalented singers displaying longer voice onset time than the trained singers. No other significant differences were observed across the other phonemes. Despite a significant difference observed, relatively small effect sizes and statistical power make it difficult to draw any conclusions regarding the usefulness of voice onset time as an indicator of singing talent.

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KENNERLEY, DAVID. "DEBATING FEMALE MUSICAL PROFESSIONALISM AND ARTISTRY IN THE BRITISH PRESS, c. 1820–1850." Historical Journal 58, no. 4 (October 29, 2015): 987–1008. http://dx.doi.org/10.1017/s0018246x14000740.

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AbstractThe entrance of women into the male-dominated spheres of the professions and the arts has been a major theme of women's and gender history in nineteenth-century Britain. In general, historians have located this development primarily in the second half of the century and depicted it as an important corollary to the political aims of the wider women's movement. In contrast, this article contends that an overlooked earlier context for the formation and emergence of ideas of female professionalism and artistry were the debates surrounding female singers in the press between c. 1820 and 1850. In this era, writers in newly emerging specialist music periodicals increasingly advocated a view of female singers as both professionals and artists. Such views did not dominate discourse, however. There remained a great deal of ambivalence even in specialist publications about just how far female singers should pursue the lifestyle of the professional artist, while in the mainstream press very different attitudes towards female singers prevailed. Although female musical professionalism and artistry therefore remained contested concepts, this article highlights the significance of these debates about female singers as an important source for the new ideas about women's professional and artistic work emerging in nineteenth-century British society.

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Aquino, Fernanda, and Léslie Ferreira. "Vocal Parameters of Elderly Female Choir Singers." International Archives of Otorhinolaryngology 20, no. 01 (November 26, 2015): 025–29. http://dx.doi.org/10.1055/s-0035-1567875.

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Introduction Due to increased life expectancy among the population, studying the vocal parameters of the elderly is key to promoting vocal health in old age. Objective This study aims to analyze the profile of the extension of speech of elderly female choristers, according to age group. Method The study counted on the participation of 25 elderly female choristers from the Choir of Messianic Church of São Paulo, with ages varying between 63 and 82 years, and an average of 71 years (standard deviation of 5.22). The elders were divided into two groups: G1 aged 63 to 71 years and G2 aged 72 to 82. We asked that each participant count from 20 to 30 in weak, medium, strong, and very strong intensities. Their speech was registered by the software Vocalgrama that allows the evaluation of the profile of speech range. We then submitted the parameters of frequency and intensity to descriptive analysis, both in minimum and maximum levels, and range of spoken voice. Results The average of minimum and maximum frequencies were respectively 134.82–349.96 Hz for G1 and 137.28–348.59 Hz for G2; the average for minimum and maximum intensities were respectively 40.28–95.50 dB for G1 and 40.63–94.35 dB for G2; the vocal range used in speech was 215.14 Hz for G1 and 211.30 Hz for G2. Conclusion The minimum and maximum frequencies, maximum intensity, and vocal range presented differences in favor of the younger elder group.

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Hassan, Scheherazade. "Female traditional singers in Iraq: A survey." International Journal of Contemporary Iraqi Studies 4, no. 1&2 (July 2010): 25–39. http://dx.doi.org/10.1386/ijcis.4.1-2.25_1.

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Booth, R. "The First Female Professional Singers: Madam Coniack." Notes and Queries 44, no. 4 (December 1, 1997): 533. http://dx.doi.org/10.1093/notesj/44.4.533.

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Spitz, Scott S., Louis M. Herman, Adam A. Pack, and Mark H. Deakos. "The relation of body size of male humpback whales to their social roles on the Hawaiian winter grounds." Canadian Journal of Zoology 80, no. 11 (November 1, 2002): 1938–47. http://dx.doi.org/10.1139/z02-177.

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We examined the relation of body length of male humpback whales (Megaptera novaeangliae) to the social roles they adopted on the Hawaiian winter grounds: principal escort in a competitive group, secondary escort, lone escort to a mothercalf pair, male partner in a dyad, and singer. Using underwater videogrammetry, we measured body lengths of 17 principal escorts, 68 secondary escorts, 40 single escorts, 17 male partners, and 8 singers. Results revealed that (i) principal escorts were, on average, significantly larger than males in each of the remaining social roles except singer, (ii) singers were significantly larger than male partners, (iii) there were no significant size differences among secondary escorts, single escorts, or male partners. Further, principal escorts tended to be the largest or second-largest male within their individual competitive group. All principal escorts were of sizes that indicated a 0.81 probability or better of sexual maturity, based on whaling data. In comparison, more than half of the male partners, almost one-third of the secondary escorts, and one-fifth of the single escorts were of sizes that indicated a 0.5 probability or less of sexual maturity. Seven of the eight singers had a 0.9 probability or better of sexual maturity and the eighth singer a 0.5 probability. However, the data for singers are too few to allow firm conclusions to be reached about the relation of body size to singing. Overall, our findings suggest that body size confers an advantage in physical competition between male humpback whales, and that a large proportion of males adopting the role of secondary escort, single escort, and partner are likely to be sexually immature. Additionally, the competitive group appears to be a major reproductive unit in terms of bringing together a receptive female and potential mates.

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Koufman, James A., Teresa A. Radomski, Ghazi M. Joharji, Gregory B. Russell, and David C. Pillsbury. "Laryngeal Biomechanics of the Singing Voice." Otolaryngology–Head and Neck Surgery 115, no. 6 (December 1996): 527–37. http://dx.doi.org/10.1016/s0194-59989670007-4.

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By transnasal fiberoptic laryngoscopy, patients with functional voice disorders often demonstrate abnormal laryngeal biomechanics, commonly supraglottic contraction. Appropriately, such conditions are sometimes termed muscle tension dysphonias. Singers working at the limits of their voice may also transiently demonstrate comparable tension patterns. However, the biomechanics of normal singing, particularly for different singing styles, have not been previously well characterized. We used transnasal fiberoptic laryngoscopy to study 100 healthy singers to assess patterns of laryngeal tension during normal singing and to determine whether factors such as sex, occupation, and style of singing influence laryngeal muscle tension. Thirty-nine male and 61 female singers were studied; 48 were professional singers, and 52 were amateurs. Examinations of study subjects performing standardized and nonstandardized singing tasks were recorded on a laser disk and subsequently analyzed in a frame-by-frame fashion by a blinded otolaryngologist. Each vocal task was graded for muscle tension by previously established criteria, and objective muscle tension scores were computed. The muscle tension score was expressed as a percentage of frames for each task with one of the laryngeal muscle tension patterns shown. The lowest muscle tension scores were seen in female professional singers, and the highest muscle tension scores were seen in amateur female singers. Male singers (professional and amateur) had intermediate muscle tension scores. Classical singers had lower muscle tension scores than nonclassical singers, with the lowest muscle tension scores being seen in those singing choral music (41%), art song (47%), and opera (57%), and the highest being seen in those singing jazz/pop (65%), musical theater (74%), bluegrass/country and western (86%), and rock/gospel (94%). Analyzed also were the influences of vocal nodules, prior vocal training, number of performance and practice hours per week, warm-up before singing, race, smoking, and alcohol consumption.

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de Moya Martínez, María del Valle, and María del Valle Robles de Moya. "La voz femenina en Albacete. Sopranos destacadas en la segunda mitad del siglo XX." Al-Basit : Revista de Estudios Albacetenses 66 (December 1, 2021): 333–98. http://dx.doi.org/10.37927/al-basit.66_9.

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This research is devoted to the recovery of the musical artistic heritage in the recent history of the city of Albacete. Thus, this paper sought to find out which were the most outstanding female figures in the city during the second half of the 20th century; specifically, the soprano singers. To this end, a series of relevant female singers has been selected. These singers were born in Albacete or have developed their professional career in this city, contributing with their careers in different professional fields to maintain and increase the musical legacy of Albacete.

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Paoliello, Karla, Gisele Oliveira, and Mara Behlau. "Singing voice handicap mapped by different self-assessment instruments." CoDAS 25, no. 5 (October 23, 2013): 463–68. http://dx.doi.org/10.1590/s2317-17822013005000008.

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PURPOSE: To map voice handicap of popular singers with a general voice and two singing voice self-assessment questionnaires. METHODS: Fifty singers, 25 male and 25 female, 23 with vocal complaint and 27 without vocal complaint answered randomly the questionnaires. For the comparison of data, the following statistical tests were performed: Mann-Whitney, Friedman, Wilcoxon, Spearman and Correlation. RESULTS: Data showed that the VHI yielded a smaller handicap when compared to the other two questionnaires (VHI x S-VHI - p=0.001; VHI x MSVH - p=0.004). The S-VHI and MSVH produced similar results (p=0.723). Singers with vocal complaint had a VHI total score of 17.5. The other two instruments showed more deviated scores (S-VHI - 24.9; MSVH - 25.2). There was no relationship between gender and singing style with the handicap perceived. A weak negative correlation between the perceived handicap and the time of singing experience was found (-37.7 to -13.10%), that is, the smaller the time of singing experience, the greater the handicap is. CONCLUSION: The questionnaires developed for the assessment of singing voice, S-VHI and MSVH, showed to be more specific and correspondent to each other for the evaluation of vocal handicap in singers. Findings showed that the more the time of singer's singing experience, the smaller the handicap is. Gender and singing styles did not influence the perception of the handicap.

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Ali, Arshad, Athar Rashid, and Ameer Sultan. "Exploring Personal Deixis in Western Music: A Corpus-Based Study." Global Regional Review V, no. IV (December 30, 2020): 106–17. http://dx.doi.org/10.31703/grr.2020(v-iv).11.

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Pragmatics informs us about the relationship between the use of language and its context. This relationship is identified through person deixis. This research interprets the reference meaning of personal deixis and looks at the most frequent personal deixis used in the lyrics of male and female English singers. This research uses a corpus method for the analysis. The data was collected from online sources to compile corpora of songs sung by male and female singers. The research has adopted both qualitative and quantitative approaches for the analysis of corpora. The corpus was tagged using parts-of-speech tagger (POS Tagger) and analyzed using AntConc software. The findings suggest that personal deixis are frequently used by both male and female singers.

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Dahlbäck, Kajsa. "Den kvinnliga sopranen i barockrepertoaren." Trio 10, no. 1 (July 10, 2021): 65–73. http://dx.doi.org/10.37453/trio.110126.

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The artistic doctoral project of soprano Kajsa Dahlbäck is in two parts. The theme of the concert series is “The female soprano within the baroque repertoire 1600–1750” and that of the thesis is “Singing-in-the-world – a phenomenological study on the singer’s inner work”. In her concerts, Dahlbäck has performed music from different parts of Europe and particularly from communities with female singers, such as for instance Italian nun convents, Vivaldi’s time at La Pietà in Venice and the court of Swedish Queen Christina in Stockholm and Rome. In her thesis, Dahlbäck shares insights from her experience as a singer specializing in early music as well as the genre’s generally intimate concert and rehearsal atmosphere. Experience texts from rehearsals and concerts have been mirrored against phenomenological theories. The practice-based triadic concept of body–breath– mind is linked to the theoretical singing-in-the-world. Body–breath–mind is the foundation for singing-in-the-world, a synthesis of the phenomenological tradition of Heidegger’s being- in-the-world (in-der-Welt-sein), Merleau-Ponty’s being toward-the-world (suis à) and in recent years Škof and Berndtson’s breathing-in-the-world.

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Brown, W. S., Richard J. Morris, Douglas M. Hicks, and Elizabeth Howell. "Phonational profiles of female professional singers and nonsingers." Journal of Voice 7, no. 3 (September 1993): 219–26. http://dx.doi.org/10.1016/s0892-1997(05)80330-3.

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VON KLEIN, CARL H. "VOICE IN FEMALE SINGERS AFFECTED BY GYNECOLOGICAL DISORDERS." JAMA: The Journal of the American Medical Association 265, no. 15 (April 17, 1991): 2003. http://dx.doi.org/10.1001/jama.1991.03460150107040.

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Usha, M., Y. V. Geetha, and Y. S. Darshan. "Objective Identification of Prepubertal Female Singers and Non-singers by Singing Power Ratio Using Matlab." Journal of Voice 31, no. 2 (March 2017): 157–60. http://dx.doi.org/10.1016/j.jvoice.2016.06.016.

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Brosius, Amy. "Courtesan Singers as Courtiers: Power, Political Pawns, and the Arrest of virtuosa Nina Barcarola." Journal of the American Musicological Society 73, no. 2 (2020): 207–67. http://dx.doi.org/10.1525/jams.2020.73.2.207.

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This article gives a close reading of the “avvisi di Roma”—unpublished archival documents reporting on daily life in the city—that record the arrest in 1645 of famous Roman courtesan singer Nina Barcarola. Organized by the political enemies of Nina's main protector, Cardinal Antonio Barberini, the arrest was orchestrated so as to compromise the public honor of both. The reports of the arrest reflect a growing elite interest in female vocal performance in Rome, and attest to a rise in the social value of courtesan singers. Examining details provided in these reports, the article explores various aspects of Nina's life and courtesan singing culture more generally: the public honor and social practices of courtesan singers; the positive effect of singing on courtesan honor; the types of gatherings hosted by Nina; and her politically satirical public performances. It also analyzes Nina's relationship to various areas of contemporary politics—social, state, familial, and gender. The reports reveal that, in the public sphere, Nina, like Barberini's male dependents, served as a symbolic extension of the cardinal. By introducing courtesan singers—a significant, marginalized population—into musicological discourse on seventeenth-century Rome, the article broadens our understanding of Roman singing culture in this period.

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Winiszewska, Hanna. "Professional career and family life of Viennese Primadonnas. The case of Catarina Cavalieri and Aloysia Weber (Lange)." Interdisciplinary Studies in Musicology, no. 19 (December 31, 2019): 31–40. http://dx.doi.org/10.14746/ism.2019.19.2.

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The aim of this article is to present the issue of female singers and their role in the society of eighteenth-century Vienna on the example of two women: Mozart’s sister-in-law Aloysia, née Weber, later Lange, and Catarina Cavalieri, the first Constance. These singers were rivals on the opera stage in late 18th century Vienna, as evidenced by the parts written for them by Mozart in his Der Schauspieldirektor. From the social point of view, the biographies of these two outstanding singers are very different.

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Morales Villar, Maria del Coral, and Mercedes Castillo Ferreira. "From prima donna to teacher. Two female pioneers in singing education in the Nineteenth Century: Virginia Boccabadati and Matilde Esteban." Multidisciplinary Journal of Gender Studies 11, no. 2 (June 25, 2022): 100–123. http://dx.doi.org/10.17583/generos.9045.

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During the 19th-century, the teaching of singing became a career opportunity for the women who had worked in the lyrical stage. The core objective of this article is to reclaim the role of women in music education by studying two prime donnewho, after building a career as successful professional singers, became singing teachers and were pioneers in publishing their methods for female voice education. This research is based on the review and analysis of documentation, mostly historical. By looking at the biographies of the Italian singer, Virginia Boccabadati (1830-1922) and the Spanish singer, Matilde Esteban (1841-1915), we can discover the context in which their treatises were published and the image they offer of woman as a singer and as a student. By choosing women who were each other's contemporary, but from different countries, helps us to observe the obvious points related to gender determinants that their treatises had in common.

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Weiss, Michael W., E. Glenn Schellenberg, and Sandra E. Trehub. "Generality of the Memory Advantage for Vocal Melodies." Music Perception 34, no. 3 (February 1, 2017): 313–18. http://dx.doi.org/10.1525/mp.2017.34.3.313.

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Children and adults, with or without music training, exhibit better memory for vocal melodies (without lyrics) than for instrumental melodies (Weiss, Schellenberg, Trehub, & Dawber, 2015; Weiss, Trehub, & Schellenberg, 2012; Weiss, Trehub, Schellenberg, & Habashi, 2016; Weiss, Vanzella, Schellenberg, & Trehub, 2015). In the present study, we compared adults’ memory for vocal and instrumental melodies, as before, but with two additional singers, one female (same pitch level as the original female) and one male (7 semitones lower). In an exposure phase, 90 participants (M = 4.1 years training, SD = 3.9) rated their liking of 24 melodies—6 each in voice, piano, banjo, and marimba. After a short break, they heard the same melodies plus 24 timbre-matched foils (6 per timbre) and rated their recognition of each melody. Recognition was better for vocal melodies than for melodies in every other timbre, replicating previous findings. Importantly, the memory advantage was comparable across voices, despite the fact that liking ratings for vocal melodies differed by singer. Our results provide support for the notion that the vocal advantage in memory for melodies is independent of the idiosyncrasies of specific singers or of vocal attractiveness, arising instead from enhanced processing of a biologically significant timbre.

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Morris, Richard J., David A. Okerlund, and Emily A. Craven. "First Passaggio Transition Gestures in Classically Trained Female Singers." Journal of Voice 30, no. 3 (May 2016): 377.e21–377.e29. http://dx.doi.org/10.1016/j.jvoice.2015.05.002.

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Thaxton, Lyn, and Charles Jaret. "Singers and Stereotypes: The Image of Female Recording Artists." Sociological Inquiry 55, no. 3 (July 1985): 239–63. http://dx.doi.org/10.1111/j.1475-682x.1985.tb00862.x.

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Zirbel, Katherine E. ""A Trade like Any Other": Female Singers and Dancers in Egypt:"A Trade like Any Other": Female Singers and Dancers in Egypt." American Anthropologist 99, no. 2 (June 1997): 438–39. http://dx.doi.org/10.1525/aa.1997.99.2.438.2.

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Branca, Jacopo Junio Valerio, Massimo Gulisano, Mario Marella, and Gabriele Mascherini. "Are Opera Singers Fit or Not?" Sustainability 12, no. 10 (May 21, 2020): 4213. http://dx.doi.org/10.3390/su12104213.

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Little information is available about the physical fitness of opera singers. The aim of this study is to measure cardiac engagement during rehearsals and to test both cardiovascular fitness and body composition in a group of opera singers. Thirty-two opera singers (17 female and 15 male) were enrolled for the assessment of body composition by bio impedance, of cardiovascular fitness by submaximal exercise test on a cycle ergometer and the physical effort during singing. Anthropometric parameters showed an overweight condition mainly due to an increase in fat mass. Watts reached during the cycle ergometer test were below the normal range for the general population. During rehearsals, singers have reached 95% of the maximum heart rate. Nowadays, opera singers show low levels of physical fitness, but singing is an activity that requires a high heart effort. Therefore, it is recommended to involve such professionals in a gradual and individualized physical training program in order to avoid fatigue during performances and achieve a better singing performance.

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Toles, Laura E., Andrew J. Ortiz, Katherine L. Marks, James A. Burns, Tiffiny Hron, Jarrad H. Van Stan, Daryush D. Mehta, and Robert E. Hillman. "Differences Between Female Singers With Phonotrauma and Vocally Healthy Matched Controls in Singing and Speaking Voice Use During 1 Week of Ambulatory Monitoring." American Journal of Speech-Language Pathology 30, no. 1 (January 27, 2021): 199–209. http://dx.doi.org/10.1044/2020_ajslp-20-00227.

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Purpose Previous ambulatory voice monitoring studies have included many singers and have combined speech and singing in the analyses. This study applied a singing classifier to the ambulatory recordings of singers with phonotrauma and healthy controls to determine if analyzing speech and singing separately would reveal voice use differences that could provide new insights into the etiology and pathophysiology of phonotrauma in this at-risk population. Method Forty-two female singers with phonotrauma (vocal fold nodules or polyps) and 42 healthy matched controls were monitored using an ambulatory voice monitor. Weeklong statistics (average, standard deviation, skewness, kurtosis) for sound pressure level (SPL), fundamental frequency, cepstral peak prominence, the magnitude ratio of the first two harmonics ( H 1 –H 2 ), and three vocal dose measures were computed from the neck surface acceleration signal and separated into singing and speech using a singing classifier. Results Mixed analysis of variance models found expected differences between singing and speech in each voice parameter, except SPL kurtosis. SPL skewness, SPL kurtosis, and all H 1 –H 2 distributional parameters differentiated patients and controls when singing and speech were combined. Interaction effects were found in H 1 –H 2 kurtosis and all vocal dose measures. Patients had significantly higher vocal doses in speech compared to controls. Conclusions Consistent with prior work, the pathophysiology of phonotrauma in singers is characterized by more abrupt/complete glottal closure (decreased mean and variation for H 1 –H 2 ) and increased laryngeal forces (negatively skewed SPL distribution) during phonation. Application of a singing classifier to weeklong data revealed that singers with phonotrauma spent more time speaking on a weekly basis, but not more time singing, compared to controls. Results are used as a basis for hypothesizing about the role of speaking voice in the etiology of phonotraumatic vocal hyperfunction in singers.

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Noronha, Ana Luíza Silva, Frederico Leocádio Ferreira, and Juliana Maria Magalhães Christino. "EMPOWER YOURSELF OR DIE TRYING: A thematic and narrative analysis of the most famous music videos of Brazilian pop divas." Communication Papers 11, no. 22 (July 21, 2022): 96. http://dx.doi.org/10.33115/udg_bib/cp.v11i22.22774.

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This article reports how female empowerment and female sexual objectification are present in music videos and songs belonging to the Brazilian Pop Divas. From a thematic analysis of video clips and lyrics, about 70 video clips and songs present on Youtube were analyzed. Compared to male artists, female artists were more sexually objectified, held to stricter standards of appearance, and more likely to demonstrate sexually attractive behavior; moreover, female singers were subjected to secondary roles in their music videos before male participation. Therefore, the consumption of Brazilian Pop Divas' songs and music videos can influence and reinforce sexist attitudes and sexual objectification of the female figure for their consumers since these attitudes are normalized in present music videos and songs of the most acclaimed female singers in Brazil.<div> </div>

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Schafer, John C. "Death, Buddhism, and Existentialism in the Songs of Trinh Côông Sóón." Journal of Vietnamese Studies 2, no. 1 (February 1, 2007): 144–86. http://dx.doi.org/10.1525/vs.2007.2.1.144.

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Various explanations have been offered for the extraordinary popularity of the composer and singer Tr]nh Côông SKn: his poetic lyrics, his avoidance of the clichéés of prewar music, his antiwar themes, his ability to choose talented female singers, and the like. But little has been said about the Buddhist themes in his songs, perhaps because Vietnamese scholars take them for granted. This article points out these themes and argues that they help explain the Trinh Côông S Kn phenomenon. It also discusses European existentialism, which the author argues fascinated Trinh Côông S Kn but was ultimately not a major influence on his work.

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Walton. "Female Street Singers of Java: Musical Style and Life Circumstances." Ethnomusicology 65, no. 1 (2021): 138. http://dx.doi.org/10.5406/ethnomusicology.65.1.0138.

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Björkner, Eva, Johan Sundberg, Tom Cleveland, and Ed Stone. "Voice Source Differences Between Registers in Female Musical Theater Singers." Journal of Voice 20, no. 2 (June 2006): 187–97. http://dx.doi.org/10.1016/j.jvoice.2005.01.008.

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Balasubramanium, Radish Kumar, Anuradha Shastry, Mausam Singh, and Jayashree S. Bhat. "Cepstral Characteristics of Voice in Indian Female Classical Carnatic Singers." Journal of Voice 29, no. 6 (November 2015): 693–95. http://dx.doi.org/10.1016/j.jvoice.2015.01.002.

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Traser, Louisa, Jana Knab, Matthias Echternach, Hannah Fuhrer, Bernhard Richter, Hartmut Buerkle, and Stefan Schumann. "Regional ventilation during phonation in professional male and female singers." Respiratory Physiology & Neurobiology 239 (May 2017): 26–33. http://dx.doi.org/10.1016/j.resp.2017.01.006.

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Sweet, Bridget. "Voice Change and Singing Experiences of Adolescent Females." Journal of Research in Music Education 66, no. 2 (April 2, 2018): 133–49. http://dx.doi.org/10.1177/0022429418763790.

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The purpose of this qualitative study was to understand how undergraduate- and graduate-level choristers perceived the influence of adolescent female voice change on their singing experiences since the age of 11 years old. Data included individual and focus group interviews with 17 female collegiate choral singers enrolled in one of two women’s choirs at a large midwestern university. Three overarching themes emerged: perceptions of vocal development, teacher influence, and emotion. Findings revealed that participants’ perceptions of singing experiences since age 11 largely revolved around vocal challenges, fear, and insecurity and have remained mostly negative even after the passing of time. Experiences in choir were not necessarily positive, and participants perceived their individual vocal needs as secondary to the needs of the larger choral ensemble. Out of fear of hurting the larger choir, participants remained passive and did not self-advocate, resulting in additional challenges with self-confidence and struggles pertaining to singer identity development during adolescence and into adulthood.

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Garini, Ardia, and Mualimin Mualimin. "GENDERLECT ASPECTS IN COUNTRY SONGS: A PRAGMATIC STUDY." Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 5, no. 1 (May 17, 2021): 45–55. http://dx.doi.org/10.14710/culturalistics.v5i1.11452.

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A song can be sung by both female and male singers, but some are not. It depends on how the songwriter creates the music lyrics. The songwriter’s gender can also influence the use of the communication style of the lyrics. It is because the way communication between males and females is as different as a culture, appropriates with the term of Genderlect. The goal of this study is to determine the influence of genderlect and the indication of the gendered song in country songs. The data used are country song nominees of Grammy Music Awards 2020. The data are analyzed by presupposition analysis and this study uses purposive sampling and non-participant observation methods for collecting the data. The result of the study shows that genderlect influences the gender of the songwriter, on producing the language of the lyrics. Meanwhile, for the gendered song, it is indicated by the singer who sings the lyrics or the language of the song. Keywords: genderlect; gendered country song; presupposition analysis

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Morton, Melissa. "‘Where Did That Voice Come From?’." MUSIC.OLOGY.ECA 1 (September 11, 2020): 8–25. http://dx.doi.org/10.2218/music.2020.5695.

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For the last two decades, the viewers of televised talent competitions have witnessed an intriguing phenomenon—singers with voices that fail to ‘match’ their bodies. With a particular focus on female child singers, this article explores the phenomenon of the ‘mismatched girl’. Combining theories from voice studies and musicology, the article examines the depiction of the relationship between voice and body within the talent competitions. Ultimately, mismatched girls prompt journalists, fans, and musicians alike to consider fundamental questions concerning the human voice—where do voices come from and what do they mean?

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Watson, Greg. "Pragmatic acts of love." Language and Literature: International Journal of Stylistics 21, no. 2 (May 2012): 150–69. http://dx.doi.org/10.1177/0963947011435860.

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This article is a pragmatic examination of the manner in which early American female blues artists talk to their audience about love. It is an extension of the preliminary work of Kuhn (1999), who examined the lyrics of male blues singers, and Watson (2006), who applied a revised version of Tyrmi’s (2004) model to investigate the expression of love and sexuality in the lyrics of pre-1950s’ American female blues singers. Kuhn’s (1999) study concentrated on the seductive strategies of male blues lyrics and applied speech act theory to her corpus. This article aims to extend upon Kuhn’s enquiry, by examining, in greater detail, the seductive strategies and other acts of love expressed in the lyrics sung by early female blues artists. It is, and has generally been, perceived that female artists are less risqué and less assertive in requesting their needs, and that they are more genteel in expressing their desires and feelings. Watson (2006) disproved this assumption. I found that these women were direct in stating their needs, either for love or sexual gratification and had no qualms about stating these needs. In this article, I further investigate how these women express their needs and wants by applying Searle’s (1969, 1976, 1979) speech act theory to the lyrics of early female blues singers. In doing so, I pay particular attention to the use of assertives, directives, and commissives. This methodology is applied to a representatively selected computerised corpus of 111 songs by 39 different American female blues artists, who pre-date the 1950s. Like Kuhn (1999), I am particularly interested in arriving at a fuller understanding of how it is that as we listen to the blues we feel that these lyrics ‘talk’ to us and I am especially interested in proposing a pragmatic taxonomy of these lyrics

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Clarós, Pedro, Kinga Mikolajczyk, Astrid Clarós Pujol, Carmen Pujol, Juan Sabater, and Andrés Clarós. "Side effects of medications in professional opera singers’ voice: survey findings." International Journal of Otorhinolaryngology and Head and Neck Surgery 6, no. 2 (January 24, 2020): 213. http://dx.doi.org/10.18203/issn.2454-5929.ijohns20200131.

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Background: Opera singers are classified under level I, as the elite vocal performers, being the quintessential representatives of this group. As the professional voice users, they meticulously observe any changes relevant to their health, therefore self-reported side effects should be taken under serious consideration. The aim of this study was to initiate the process of gathering general information about the most common side effects of medications taken by the opera singers.Methods: The study group consisted of 264 professional opera singers, treated in Clarós Clinic in a 35 years period, who were asked to complete a questionnaire. The response rate was 62.1% (n=164) with a male-to-female ratio being 1.27:1 (72 men and 92 women). 46 cases of adverse effects of medicines were updated and analysed. All the responses were collected between February and April 2018. Results: The mean age of our study group was 38.3 for females and 49.95 for males, with the range between 18-83 years. The vocal categories were as follows: 39 tenors, 17 baritones, 14 basses, 64 sopranos, 23 mezzo-sopranos and 5 contraltos. Patients with chronic diseases and comorbidities represented the 39.1% of the study group. The most common adverse effect reported was dryness (15.2%). The most frequent voice side effects raised by singers were clearing the throat frequently (14.63%), hoarseness and coarse or scratchy sound (10.37%), and vocal fatigue (7.32%).Conclusions: We believe that exploring the subject of vocal side effects of medications in professional opera singers is extremely important.

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Sweet, Bridget. "The Adolescent Female Changing Voice." Journal of Research in Music Education 63, no. 1 (April 2015): 70–88. http://dx.doi.org/10.1177/0022429415570755.

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The purpose of this phenomenological study was to investigate the experience of female voice change from the perspective of female middle and high school choral students. The study was guided by two questions: How do adolescent female choir students experience voice change? What is the essence of the experience of voice change for middle school and high school females in choir? “Co-researchers” included two students in Grades 6 through 12 (14 students total) at the Durham School of the Arts in Durham, North Carolina; the female singers demonstrated a variety of voice change characteristics, from vocal breathiness to limited vocal range. Data collected in November, January, and April included written responses to an open set of questions that were discussed thoroughly during a corresponding interview. Analysis revealed three core themes: (a) Phonation Experiences, (b) Emotional Experiences, and (c) Contexts of Singing. The essence of the experience of female voice change was that vulnerability and fear of embarrassment determined all use of the females’ singing voices, resulting in risk assessment for each singing situation and setting.

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Monod, David. "DOUBLE-VOICED: MUSIC, GENDER, AND NATURE IN PERFORMANCE." Journal of the Gilded Age and Progressive Era 14, no. 2 (April 2015): 173–93. http://dx.doi.org/10.1017/s1537781414000784.

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AbstractDouble-voiced singing was a popular form of variety show entertainment from the 1860s through to the 1920s. Double-voiced performers were able, through intonation and tone, to sound as though they had at least two separate and distinct “voices,” generally one soprano and one baritone. But as Claire Rochester, a double-voiced singer of the early twentieth century made clear, their act was more than just a matter of a woman singing low notes or a man singing high ones; it was all about a performer adopting the “voice” of the other sex. The unusual practice of these singers was to sing duets (and sometimes as much as quartets) to themselves and by themselves, flipping back and forth between their male to female “voices.” I place this strange form of entertainment in the context of changing attitudes to gender and sexuality and suggests that conventional interpretations of “freak” performances as “transgressive” fail to account for these vocal wonders. Double-voiced singers shunned the “transgressive” billing, especially when their own sexual identity was called into question. In making this argument, I suggest that we need to widen our understanding of “freakery,” imposture and the meaning of “nature” and “truth,” as they were revealed both on stage and off.

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TURNER, KRISTEN M. "“A Joyous Star-Spangled-Bannerism”: Emma Juch, Opera in English Translation, and the American Cultural Landscape in the Gilded Age." Journal of the Society for American Music 8, no. 2 (May 2014): 219–52. http://dx.doi.org/10.1017/s175219631400008x.

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AbstractSoprano Emma Juch (1860–1939), famous in the 1880s and 1890s, combined singing in concerts and festivals with a short English-language operatic career. Because Juch exemplifies a typical prima donna of the late nineteenth century, her life provides a perspective on the American cultural landscape that a focus on star performers cannot capture. Like all female singers, she had to negotiate between competing stereotypes about divas and the nineteenth-century distrust of women who led public lives. In response to these pressures, she constructed an image of a vigorous American singer who nevertheless understood her expected role in society. During the Gilded Age, opera's place in American culture was changing. Foreign-language opera became increasingly associated with wealth, the highest performance quality, and sometimes even cultural and moral uplift, whereas English-language opera suggested popular entertainment for the middle class and mediocre performance standards. The American Opera Company and Juch's own Emma Juch English Grand Opera Company attempted to fight against these assumptions and center opera in English performed by native singers as an important component of a distinctly American musical tradition. She was unsuccessful, however, and Juch's career, which began with great promise, lost momentum after her opera troupe folded and she slid into obscurity.

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Michelsen, A., and N. Elsner. "Sound emission and the acoustic far field of a singing acridid grasshopper (Omocestus viridulus L.)." Journal of Experimental Biology 202, no. 12 (June 15, 1999): 1571–77. http://dx.doi.org/10.1242/jeb.202.12.1571.

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An array of eight microphones, all at a distance of 15 cm, was used to make simultaneous recordings of the sounds emitted by courting male acridid grasshoppers of the species Omocestus viridulus. In this species, the movement pattern for sound production differs in the two hindlegs, and in most cases the leg facing the female moves with the larger amplitude. The sonic sound intensity (the total sound in the one-third octave bands with centre frequencies from 5 to 20 kHz) is maximal ipsilateral to the leg stridulating with the larger amplitude (the dominant leg). A spontaneous switch of dominance to the other leg may cause a significant change in the emitted sound power. The sound intensities contralateral to the dominant leg and frontal to the animal are, on average, approximately half (−3 dB) of the ipsilateral value, whereas the mean sound intensities behind and above the singer are approximately one-fifth (−7 dB) of the ipsilateral value. In most singers, the patterns of sound radiation are close to these mean values, but in some singers the radiation patterns are radically different. The sound radiated in various directions differs not only in terms of sound intensity but also with respect to the frequency spectrum, which was studied up to the one-third octave band with a centre frequency of 31.5 kHz. In particular, the ratio between the ultrasonic and sonic components is much smaller in the forward direction than in other directions. This may allow the courted female to hear whether the courting male is oriented directly towards her.

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Hadlock, Heather. "Return of the repressed: The prima donna from Hoffmann's Tales to Offenbach's Contes." Cambridge Opera Journal 6, no. 3 (November 1994): 221–43. http://dx.doi.org/10.1017/s0954586700004316.

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The operatic diva, a singer of strange songs, and too often a turbulent, unkind girl, haunted the nineteenth-century imagination, as evidenced by the musical tales of E. T. A. Hoffmann and numerous retellings of those tales in theatre, ballet and opera. Each adaptation of Hoffmann's ‘Rat Krespel’, ‘Der Sandmann’ and ‘Don Juan’ reflects an ambivalent attitude towards women performers, whose potent voices make them simultaneously desirable and fearsome. How do these stories about female singers contrive to contain and manage the singing woman’s authority? And how does the prima donna's voice repeatedly make itself heard, eluding and overcoming narrative attempts to shape or contain its turbulent noise?Let me begin with an excerpt from ‘Rat Krespel’ (1818), which might serve as a parable for relationships between female singers and male music lovers in the Romantic imagination. Krespel, a young German musician, travelled in Italy and was fortunate enough to win the heart of a celebrated diva, Angela, whose name seemed only appropriate to her heavenly voice. Unfortunately, her personality was less than heavenly, and when she was not actually singing he found her violent whims and demands for attention very trying. One day, as he stood playing his violin:[Angela] embraced her husband, overwhelmed him with sweet and languishing glances, and rested her pretty head on his shoulder. But Krespel, carried away into the world of music, continued to play on until the walls echoed again; thus he chanced to touch the Signora somewhat ungently with his arm and the fiddle bow.

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Marcus, Scott, and Karin van Nieuwkerk. "A Trade like Any Other: Female Singers and Dancers in Egypt." Notes 55, no. 3 (March 1999): 687. http://dx.doi.org/10.2307/900444.

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Bechtel, Lydia. "Female Singers on the French Stage, 1830–1848 by Kimberly White." Notes 79, no. 1 (September 2022): 79–82. http://dx.doi.org/10.1353/not.2022.0073.

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Franken, Marjorie A., and Karin van Nieuwkerk. ""A Trade like Any Other": Female Singers and Dancers in Egypt." Dance Research Journal 28, no. 2 (1996): 77. http://dx.doi.org/10.2307/1478591.

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Journal articles on the topic 'Female singers'

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