The Effects of Accent Method Breathing on the

230 Pages·2013·3.63 MB·English

by  Ron Morris

The Effects of Accent Method
Breathing on the Development of
Young Classical Singers
A dissertation submitted in fulfilment of the requirement
for the award of the degree of Doctor of Philosophy

Ron Morris Supervisors: Huib Schippers
Student No. 361477 Scott Harrison
Submission Date: 17/12/12 Helen Klieve
Abstract

Breathing and support are considered cornerstones of a secure vocal technique for
classical singing. No area of vocal pedagogy has been more controversial and, despite
recent advances in the understanding of how the respiratory system functions both in
speech and song, some breath management strategies for singing continue to be at odds
with scientific fact. Furthermore, many students find the development of these skills a
challenge. Accent Method Breathing is a technique that is well grounded in science as it
is based on the structure and function of the respiratory system. Accent Method was
developed for the remediation of speech and voice difficulties but in the past 20 years it
has also been used to help develop breathing and support in singers. The method has
been used in both private singing studios and in institutions such as the Queensland
Conservatorium Griffith University. Extant research in to Accent Method has focussed
on its use in clinical populations and on its effects on the voices of normal speakers.
Accent Method has never been evaluated specifically on singers though anecdotal
evidence and clinical experience attest to its efficacy with this population.

The current study aimed to evaluate the efficacy of Accent Method Breathing with
students of classical singing in the early years of their training. A group of students
underwent a 10 week group instruction in Accent Method with a matched group of
students acting as controls. Measures were taken pre and post intervention consisting of
Maximum Phonation Time (MPT), Mean Air Flow Rate through steady state vowels
(MFR) and a Phonetogram. The students were also recorded singing a standard passage
that was later judged by an expert panel.

ii
There were no significant differences identified in MPT or MFR post intervention
however the experimental group, who received Accent Method training, did
demonstrate highly significant changes to their phonetograms with both average
dynamic range and the maximum number of semi-tones sung showing an improvement.
Although the MFR did not show any significant results a qualitative analysis of the
airflow tracing morphology did indicate a positive effect that appeared to be due to the
Accent Method training. The panel of judges also demonstrated a greater preference for
the experimental group’s singing samples post intervention than they did for the control
group’s post intervention recordings.

Accent Method Breathing appears to be effective in bringing about change in the voices
of young classical singers. Improvements in average dynamic range, total pitch range
and air flow tracing morphology were identified. The panel of judges also expressed a
preference for the singing samples of the students who had undergone Accent Method
training.
iii
Statement of authenticity

The work contained in this dissertation is that of Ronald Morris and has not
previously been submitted for an award at any other higher education institution. To
the best of my knowledge and belief, no material previously published or written by
another person has been included except where due reference is made in the
dissertation. Selected material drawn from this dissertation that is the original work of
the author has been previously published in a selection of book chapters throughout
the course of completing this work.

Ronald Morris
July 2012

Acknowledgements

I would like to express my sincere thanks to Janice Chapman for her inspiration as
my own singing teacher and her unfailing support as a colleague; The Guildhall
School of Music and Drama (London) especially Linnhe Robertson (Head of Voice)
for allowing me to work in the school and collect data from the vocal students; Dinah
Harris and Ingrid Rugheimer who taught me Accent Method; Sara Harris for the loan
of her Aerophone equipment; Dr. Alison Winkworth who was instrumental in the
early stages of this project; Kerrie-Ann Thornber for proof-reading one of the later
drafts and the staff and students of the Queensland Conservatorium Griffith
University who helped me develop the group instruction programme through
continuous practice. Much gratitude is owed to my supervisors, Professor Huib
Schippers, Dr. Helen Klieve and Dr. Scott Harrison. Finally I thank the participants
for their willingness to undertake this study with me.

iv
Contents:

Abstract page ii

Certification page iv

Acknowledgements page iv

List of Figures Figure 1 Pump Handle Action of Ribs page 24
Figure 2 Bucket Handle Action of Ribs page 25
Figure 3 Diaphragm page 30
Figure 4 Abdominal muscles of expiration page 38
Figure 5 Largo Patterns in Accent Method page 118
Figure 6 Andante Patterns in Accent Method page 120
Figure 7 Allegro Patterns in Accent Method page 121
Figure 8 Study Patterns 1st Accent Bounce page 148
Figure 9 Side by Side Position page 149
Figure 10 Face to Face Position page 149
Figure 11 Study Patterns Largo page 151
Figure 12 Study Patterns Largo Movement page 152
Figure 13 Study Patterns Andante page 154
Figure 14 Study Patterns Andante Movement page 155
Figure 15 Study Patterns Largo Release page 157
Figure 16 Chapman’s Hey Hah Exercise page 158
Figure 17 Study Patterns Largo Fric Babble page 159
Figure 18 Study Patterns Andante Release page 159
Figure 19 Study Patterns Allegro page 160
Figure 20 Chapman’s Hey Hah Exercise page 161
v
Figure 21 Fricative Glide Exercise page 161
Figure 22 Chapman’s Rolled ‘r’ Exercise page 162
Figure 23 Study Patterns Largo Babble page 163
Figure 24 Study Patterns Andante Fric Babble page 164
Figure 25 Chapman’s Hey Hay Exercise page 165
Figure 26 Study Patterns 1st Accent Bounce page 166
Figure 27 Study Patterns Exclamations page 167
Figure 28 Chapman’s Vowel Legato Exercise page 168
Figure 29 Aerophone Tracing (Normal) page 179
Figure 30 Aerophone Tracing (Atypical) page 180
Figure 31 Aerophone Tracing (Normal) page 181
Figure 32 Aerophone Tracing (Atypical) page 181
Figure 33 Aerophone Tracing (Pre and Post) page 182
Figure 34 Aerophone Tracing (Pre and Post) page 184
Figure 35 Phonetogram Control Group page 187
Figure 36 Phonetogram Experimental Group page 188
Figure 37 Phonetogram Post Intervention page 189
Figure 38 Phonetogram Subject 13 page 190
Figure 39 Phonetogram Subject 10 page 190
Figure 40 Phonetogram Subject 11 page 191
Figure 41 Phonetogram Subject 6 page 192

List of Tables Table 1 Demographics page 171
Table 2 Pre-Intervention Statistics page 172
Table 3 M.P.T. (microphone) page 173
Table 4 M.P.T. (Aerophone) page 174
Table 5 M.P.T. by acquisition type page 175
Table 6 M.P.T. by Octaves page 175
Table 7 M.F.R. by Octaves page 177
vi
Table 8 M.F.R. Pre and Post intervention page 178
Table 9 Percentage of Change in M.F.R. page 179
Table 10 Average Dynamic Range page 185
Table 11 Maximum Number of Semitones page 185
Table 12 Average Dynamic Range by group page 186
Table 13 Max Semitones by group page 186
Table 14 Judge Preference by group page 192

vii
Introduction The Art and Science of Singing page 1

Chapter One Importance of Breathing to Classical Singing page 8

Chapter Two Respiratory Anatomy and Physiology page 19
Breathing for Singing page 40

Chapter Three Breathing and Breath Management from
the Vocal Pedagogical Literature page 66

Chapter Four The Accent Method of Breathing page 111

Chapter Five Methodology page 130

Chapter Six Results page 171

Chapter Seven Discussion page 194

Chapter Eight Conclusion page 209

Bibliography page 214
viii
Introduction The Art and Science of Singing

Singing is a complex sensory motor activity that requires finely co-ordinated interaction
of the organs of aural perception, phonation, respiration and articulation monitored by
the musical right brain. Singing also involves emotional connection and the desire to
communicate through music. Bunch (1998) summarises this complexity by stating,
“simply put, the singing voice is a combination of mind, body, imagination and spirit –
all of which work together – no one without the other” (Bunch, 1998, p. 1).

It is this intimate relationship between body and soul that has made it almost impossible
to quantify that which is good singing. We can define healthy singing, efficient singing,
artistic singing, emotional singing and probably even communicative singing but the
response to singing is in many ways so personal, that a definition of what is good singing
is extremely elusive. Similarly, it is also almost impossible to list or name the attributes
of a singer. The words “a beautiful voice” seem obvious, a talent for singing, good
diction and excellent musicianship also spring to mind, but over the years many great
singers have arisen who at least initially did not seem to fulfil these apparently basic
criteria. Maria Callas, one of the greatest singers of the twentieth century, was often
criticised for having an ugly sound! Arguments continue even thirty years after her death
about Callas’ talent, especially the voice itself, with listeners falling into one of two
groups.

It's understandable that Callas' singing still polarizes listeners. Her voice can
sound strident, dangerously out of control, even ugly. There is a leap you
have to make to get to where she is as an artist; and once you cross over, it's
hard to look back. (Tommasini, 1997)

1
Dame Joan Sutherland, nicknamed ‘La Stupenda’ for her realisation of dramatic
coloratura roles, was also not free of criticism. “In addition to coloratura virtuosity,
Sutherland’s voice was noted for a tonal warmth rooted in a supreme technique. Critics,
however, also noted a tendency to swallow vowels and blur her enunciation”
(Microsoft® Encarta® Online Encyclopaedia, 2005).

Singing seems to be a natural expression of human emotion and musical feeling. There
is not one culture on earth that does not sing. Singing is universal. Virtually everyone
can make the connected, pitch changed phonation that forms the basis of singing,
regardless of the aesthetic or musical quality of the sound that is produced. Professional
or at least proficient singers are expected to be able to produce such a phonation that
should be pleasant in tone, musical and communicative. The singer is in a unique
situation as a musician. His instrument is not only played with his body or through his
body but it truly is his body. Singers experience significant technical difficulties when
playing and manipulating their instrument simply because it is their body. The sound
source of the singer's instrument, (the larynx) is not visible to the player, except with the
use of specialised equipment. The instrument also has quite limited kinaesthetic
awareness and even limited sensory information available from many of its components.
In addition the singer's instrument is controlled by nervous systems with both voluntary
and involuntary functions and uses structures that are required for swallowing and
breathing, as well as for making tone or music.

The singer's instrument is an integral part of their body and as such the instrument is
able to respond immediately to the thought processes of the singer. There is also a
direct link between the emotions and the voice which means that vocal tone, timbre or
quality can be influenced by emotion. These conditions, poor visibility, poor sensation
and poor kinaesthetic awareness coupled with excellent emotional and thought
responsiveness have led to singing pedagogies that have relied heavily on imagery and on
the perceived sensations of the singer and teacher. Teaching for the last 400 years has
relied mainly on these aspects with usually very good results.

2