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Full text of this paper is not available in the ETD Center. Copies may be available for inter-library loan from University of Cincinnati or may be available for purchase from Proquest/UMI

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DEFINING THE BELT VOICE: PERCEPTUAL JUDGEMENTS AND OBJECTIVE MEASURES

LeBorgne, Wendy DeLeo
http://rave.ohiolink.edu/etdc/view?acc_num=ucin997718458

Abstract Details

2001, PhD, University of Cincinnati, Allied Health Sciences : Communication Sciences and Disorders.
Defining the Broadway belt voice has been the subject of debate by voice teachers and other professionals for over sixty years. Unlike the classical voice, which has a significant literature base supporting scientific definition as well as pedagogical methodology, research on the belt voice is limited. Previous research on belting has provided limited and conflicting results as to its definition, nature, and production. The present study was two-fold in nature. The initial portion required casting directors to evaluate the belt voice quality of 20 musical theater majors who were trained in belting. Two specified vocalizes and six short excerpts from the belting repertoire were used for rating purposes. The raters assessed the belters on seven perceptual parameters (loudness, vibrato, ring, timbre, focus, nasality, and registration breaks) and reported an overall score. The four highest and four lowest average overall scores were used to establish elite and average belters for the second portion of the study. The second phase of the investigation evaluated unique acoustical, aerodynamic, and spectral differences between elite and average belters based on previously specified parameters. Results of the comparisons indicated specific perceptual, acoustic, spectral, and aerodynamic differences between groups. One of the recurring terms used to define belting is perceived loudness. However, the present study indicated vibrato and ring to be the perceptual judgements most highly correlated with overall score. Vibrato and ring also correlated strongly with perceived loudness. Objective analyses revealed group differences in the magnitude of the vibrato rate, spectral characteristics, and increased noise at high frequencies. Significant differences were also found between vowels. Elite belters showed an increase in the magnitude of vibrato rate in comparison to average belters. Findings regarding the strength of the harmonics and the interaction of the harmonics with the formants provided insight into the production of the belt sound. Finally, elite belters revealed an unexpected increased amount of noise in the signal at high frequencies. Significant findings regarding differences between vowels indicated that belting may imitate speech-like inflections, thus providing significant differences between belt and classical singing styles. Implications of the results are discussed.
Dr. Linda Lee (Advisor)
1 p.
Health Sciences, Speech Pathology
belting; musical theater; voice; singing; acoustic and aerodynamic voice analysis

Recommended Citations

Citations

  • LeBorgne, W. D. (2001). DEFINING THE BELT VOICE: PERCEPTUAL JUDGEMENTS AND OBJECTIVE MEASURES [Doctoral dissertation, University of Cincinnati]. OhioLINK Electronic Theses and Dissertations Center. http://rave.ohiolink.edu/etdc/view?acc_num=ucin997718458

    APA Style (7th edition)

  • LeBorgne, Wendy. DEFINING THE BELT VOICE: PERCEPTUAL JUDGEMENTS AND OBJECTIVE MEASURES. 2001. University of Cincinnati, Doctoral dissertation. OhioLINK Electronic Theses and Dissertations Center, http://rave.ohiolink.edu/etdc/view?acc_num=ucin997718458.

    MLA Style (8th edition)

  • LeBorgne, Wendy. "DEFINING THE BELT VOICE: PERCEPTUAL JUDGEMENTS AND OBJECTIVE MEASURES." Doctoral dissertation, University of Cincinnati, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin997718458

    Chicago Manual of Style (17th edition)

ucin997718458
© 2001, all rights reserved.
This open access ETD is published by University of Cincinnati and OhioLINK.